Patrick Studios Australia – Dream Empire

Alexander Theatre, Monash University, Clayton Campus.
November 3 2011

By Rebecca Martin

Patrick Studios Australia (PSA) has been a tour de force since the school opened its doors to dancers five years ago.  On the eve of its relocation to brand new custom made studios, PSA’s full time dancers presented their end of year showcase aptly entitled Dream Empire.  There are many institutions in Australia where budding commercial dancers and singers can cut their teeth, however there is something about Todd Patrick’s school that separates it from all others.  The calibre of talent is unquestionable, and the graduating students’ versatility and competency on stage is testament to the teachers and training of the school, but it’s the choreography and the pieces presented that stand out the most.  Patrick utilizes space better than most choreographers I have seen – using props, stairways, steps, and even aisles between the audience with great success.  Ultimately though, when I go to see a performance by PSA students, I expect to be blown away.  Luckily, after traipsing to Monash University in Clayton to catch Dream Empire, the performance did just that.

Despite being the third night in a row that PSA had presented Dream Empire, the show was sold out when I attended. The theatre was buzzing with excited punters who barely quieted in time to witness a group of dancers in riot gear march down the aisles onto the stage to the haunting sounds of Carmina Burana.  The military garb and fierceness of the dancers was in stark contrast with the other group of nighty-clad dancers on stage gliding around a series of beds.  When the groups combined, it created a powerful juxtaposition of war/violence of the military and the peace/calm of bed.  The impact of so many dancers on stage and the powerful music unfortunately became a hindrance as the lack of space seemed to stifle the dancers.  Movements became restricted and lifts were dropped.  Some moments that should have been amazing were lost in the busy choreography and frantic pace of the piece.  This happened occasionally throughout the night, but ultimately the intended “wow” factor reigned supreme. 

Dream Empire showcased 28 different pieces over quite a few hours, and the dancers exhibited impressive energy throughout.  The numbers traversed the genres of hip hop, contemporary, jazz, tap, and musical theatre, and showed why PSA is so integral in training Australia and the world’s future performers.  Having said that, the dancers would do well to focus on details a little more – line shouldn’t be underestimated and flexed feet don’t look good unless choreographed that way.  Honing technique will hold them in greater stead when auditioning for coveted jobs and enable them to stand out even more. 

Congratulations to all the performers and staff at Patrick Studios Australia. I left the theatre utterly impressed as usual.  Boy, can those kids dance.

By Chris Bamford

Chris Horsey, on top of being tap royalty, is one of Australia’s top choreographers and performers. He is a major voice in the revolution of tap dance across the world. Horsey has recently been announced as the new Artistic Consultant for the Northern Tap Company in the UK.  His career has seen him travel the world and he has won numerous awards for his work. His dance company, Tap Works, has performed in many dance events throughout Australia and appeared on the very popular television show Gotta Dance in the UK with Adam Garcia.

Now Chris Horsey is putting Sydney back on the map for tap with his new professional full time course, specialising in tap dance. This is the first course of its kind in Australia, if not the world. I recently had the opportunity to chat with Chris to find out more about the Tap Works Professional Full Time Course. 

Tell us about your career as a performer and choreographer.

I trained in all forms of dance. There was a turning point in my life at about 17 or 18 years of age when I auditioned for Cats and 42^nd Street in the same month and got both jobs. I had to decide which one to do, and I chose 42^nd Street.  That really set me up for the rest of my life, in what direction I was going to go. I have always loved tap dancing, but that’s not to say that I haven’t worked in other areas quite successfully.  I was in the original cast of Chicago, which I auditioned for in New York, and I did West Side Story, which is a fantastic show to do. As I’ve got older I have really started to specialise in tap dancing and have enjoyed being a part of and a co-founder of both Hot Shoe Shuffle and Tap Dogs, which have been two of the most successful tap dance shows that Australia has offered. Now I am very much interested in working with tappers and exploring different ways of tapping, different angles, using technology and narrative, and modernising tap dancing.

Chris Horsey, by Gavin D Andrews

Tell us about your new tap course. What can a future student expect from the course?

The Tap Works Professional Full Time Course is for those who are passionate tappers. The course will develop existing skills and the curriculum will focus on taking those who have learnt a syllabus and developing them by exploring the different styles of tapping that there are, like Broadway, Hoofing and street tap jamming. Students will also study the history of tap to widen their knowledge. Another important part for the course is to develop teaching skills, as there seems to be a lack of tap teachers around that have done more than just learn syllabus. I think that’s important for the future of tap dancing and the future of dance schools. Syllabus is very important, but what my course will do is serve as an addition to syllabus work and develop performance skills. The only way to develop performance skills is to practise them and there aren’t many places to do that for tappers. If you’re a hip hop dancer, ballet dancer or contemporary dancer there are lots of companies you can join that will give you experience in performing those genres, but there really isn’t anything for a tap dancer.  This course will provide that place. It will get tappers on their feet four days a week, so they are constantly practising and honing their craft in different styles. We will also generate gigs. I have three gigs lined up next year for the company. The course will give the students the experience of working as a dance company, but in tap shoes. We will constantly work toward new performances and new ideas.

Will you be doing other styles in the course other than tap?  

There’s one thing I have noticed with dancers I have auditioned for shows, gigs and corporate acts over the last 20 years. There are some fantastic tappers out there, but it seems that a lot of them have really only concentrated on tap dancing and they don’t have the  core dance  skills  required to perform my choreography and  Broadway  tapping choreography. They don’t have classical skills, or hip hop skills, which are both very important to be an interesting tapper. So I have scheduled in 1 ballet, 1 hip hop and 1 jazz class per week and also a precision and music theory class. I am working on a program with a drummer. We are putting together a 1 lesson a week course.  It’s important as a tap choreographer to learn to work in different time signatures and to play with the beat, same as a musician would with a song. On top of that it is important for a tapper to learn how to jam and dance solo.

Are you the main teacher of the course?

I am the Artistic Director of the course and I will be teaching 2-3 classes a week. I am in the process of compiling a list of very impressive dance teachers who are willing to teach, including Darren Disney, Caroline Kaspar, Amanda ‘Foady’ Foad, Thomas Egan, Tracey Wilson, Mitchell Hicks and Shane Preston. Winston Morrison and Grant Swift from Melbourne Tap Dance have been very supportive and will be coming up from Melbourne to Sydney to teach their own, very unique, style of tapping. We will cover all styles of tap.

Do you feel this course is a tool that will reinvigorate tap in Australia?

It is a tool to reinvigorate the market. I think tap dance does come and go – it always has and always will. But I think with such a strong emphasis now on the performing arts it’s definitely needed. Dance is in all forms of media, such as movies and TV shows, but tap hasn’t been a part of it much, but it will be one day. I think this course will add to the cultural stew. There is room for this. The only reason it is not already here is that this hasn’t been done yet, but I’m doing it.

Is this course good for a student who has taken full time dance already, as an additional specialist course?

Yes!  But I think if you are really interested in tapping it doesn’t matter what age you are. You can come do this course. It’s not exclusively for people trained in syllabus, for those who have done full time dance, or for young teens. It’s for anyone who is passionate about tapping.

For further information visit www.tapworks.com.au

With competition in the dance world getting more intense, full time study is more important than ever.

By Paul Ransom.

Ever get the impression the world is speeding up and things are getting more competitive? Would it surprise you to learn that the same is true in the world of dance?

Whereas once you might have been able to ‘succeed’ without completing a rigorous full time study regime, the young hopefuls of 2011 know they have no choice. The bar has been raised and if you want to dance on the big stage (or at least have a career of some sort) then the unanimous industry opinion suggests that you enrol now.

Todd Patrick, whose academy Patrick Studios Australia, has an enviable graduate placement record, is passionate about full time dance. “The full time study question is something that’s been asked for a long time but I think over the last five years people have started to think that it is now necessary,” he begins. “What’s required of dancers these days is very different from what it was years ago. It’s now expected that the kids coming out of schools are artistic athletes.” To underline his point, he quickly adds, “They need to be contortionists, singers, actors and have great classical technique. People just want more. We’ve been weaned on So You Think You Can Dance and kids are just doing the most athletically incredible things now.”

William Forsythe, Owner/Artistic Director of ED5International in Sydney agrees that full time training is essential for industry success. “Working extensively overseas as a choreographer I meet hundreds of performers every year and the thing I come across again and again is that almost every overseas performer has studied full time for up to 3 years which gives them an amazing springboard from which to leap into the industry at full speed. I wanted this same opportunity of choice for Australian performers so we developed a 2 year Diploma in Performing Arts to allow young singers, dancers and actors a wider field of training experiences and choice. There are so many great courses in Australia at the moment, young performers need to do their research and see which institution is going to offer the right course for them depending on what type of career they wish to pursue.”

Full time study is, if nothing else, a huge commitment; a commitment that mirrors the intensity of a dance industry career. For Cameron Mitchell, Artistic Director at one of the country’s most renowned studios, (Brent Street in Sydney), a full time course is about a lot more than learning technique. “Most young performers have a limited knowledge of the industry they want to enter,” he explains. “A full time course can teach so much, not just as a dancer, a singer or actor, but as a person in the business. It gives them so many extra tools for longevity.” Trish Squire-Rogers of Spectrum Dance in Melbourne agrees saying, “full time dance not only equips the dancer with the skills to be a well rounded artist but also prepares them mentally for an industry in which one is constantly criticised. Dancers are forever hearing that they are not good enough and that they are not right for the job. Everyday is an audition, where you are judged on the way you look and behave as well as perform. Dancers are endlessly putting themselves on the line and more often than not are met with a ‘no’. Full time dance prepares the students for this mentally taxing day to day lifestyle so that they can maintain a healthy state of mind in the face of constant adversity.”

According to Jackie Hallahan, who created an accredited course for Year 11 & 12 students in the ACT as far back as 2000 and who runs the Canberra Dance Development Centre (CDDC), a full time course “inspires everyone to work towards excellence.” However, a good course will do much more than simply engender enthusiasm. “It’s work experience for a career in dance,” she adds. “Dancers are able to receive quality technical performance training and career guidance in a supportive environment and culture at an elite level, enabling the dancer to be the very best they can be.”

As anyone in the performance arts will tell you, surviving on the boards involves enormous self-discipline and no small amount of office politics. As Todd Patrick bluntly states, “for the industry at large, to have people coming up who are well mannered and who know what the industry is like because they’ve done their grounding is a big advantage.”

Esteemed industry veteran Tanya Pearson, who runs a classical coaching academy and youth ballet in Sydney, takes the point even further. “Students get familiar working to a routine of dancing all day,” she tells me. “Their bodies and minds become prepared for a life as a dancer. It’s important to note that when students are ready to audition for professional contracts they will be up against stiff competition from dancers who have had full time training. They need to be up to a certain standard and level of training and maturity, and have awareness of their mind and bodies.”

Since dance is generally a young person’s career, the training usually reaches its pitch in the mid to late teens, thereby allowing graduates more peak fitness years to explore their trade. All of which makes you wonder what level younger dancers need to attain before they are ready for a full time slog. Jackie Hallahan from CDDC suggests that it is important for candidates to possess a solid grounding before taking on a full time course. “Ideally, the student has had a graduated training program and has achieved [something like] the CDDC’s Intermediate level,” she advises. Tanya Pearson concurs, adding, “we consider more the potential of the student as well as their physical and mental attributes. Students generally should be at a minimum of Intermediate standard. However, this varies from syllabus to syllabus.” For performing arts courses Marcus Pearce of Brisbane’s Conroy Performing Arts College advises that auditioning students “should have a good level of skill in at least one genre of performing, and the physical facility that will lend itself to other styles. They also need to be prepared to participate intensively in all the styles they are not experienced at – yet! The aim of a full time course should be to graduate every student with a high level of training in every subject, not just the skills they began with.”

Importantly, Pearson urges that young dancers maintain a sense of reality. “I recommend that all students continue their academic studies through the Department of Distance Education,” she advises. “I find that our full time students cope well with their full time ballet studies and their academic studies.” Jackie Hallahan adds, “students need to develop time management skills to be able to maintain all their commitments, as well as cope with the rigours of full time.”

Whilst this all sounds like a clear pathway, the parents of aspiring dancers will doubtless be wondering about costs. Study has long since ceased to be free and the best privately run academies are, of course, business operations. Costs vary from school to school but there are partly subsidised options (like CDCC) for around $5000 a year, with other courses on the market for anywhere from approximately $7000 a year up. Most schools will offer a payment plan system, with some institutions even allowing a small number of students in special circumstances to defray hard costs by doing work around the campus. And as Marcus Pearce points out “the cost of full training may seem a lot to some parents, but it needs to be kept in mind that this is a performers’ equivalent to university (a much larger financial investment!).”

At this juncture the obvious question is: what about part time? While there is broad consensus that part time is less than ideal, highly experienced professionals like Tanya Pearson recognise that great talent does not always reside in an ideal world. “For students that cannot afford it or have other commitments I recommend that they attend as many holiday school programmes or workshops as they can. I always offer the opportunity for external students to come and attend a day or two of our full time course to gain experience, even if they are not enrolled full time in our course.” Ashley Killar of Ecole Ballet and Dance Theater who has directed companies including the Royal New Zealand Ballet adds, “there are numerous advantages to full-time training, not least training the body through the day in the correct manner to achieve strong technique, rather than in evenings after long days at school. However, while no dancer joins a professional company from a part time course, the time at which a student begins full time training should be very carefully considered by all concerned.”

Even with a range of scholarship, private tuition and part time options available, the bottom line remains: there is no free ride to a career in dance. Indeed, even exceptional raw talent will most likely need serious training in order to maintain themselves in the industry. As Brent Street’s Cameron Mitchell concludes, “Some kids get lucky; but it’s a lot more competitive than it used to be. There are more courses and more dancers fighting it out. Good training both in body and mind is invaluable.”

FULL TIME COURSES ACROSS AUSTRALIA

New South Wales

BRENT STREET Pty Ltd
Certificate IV in Performing Arts
Location: 101 Bent Street, The Entertainment Quarter, Moore Park NSW
Contact: 1300 013 708
info@brentstreet.com.au
www.brentstreet.com.au

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TANYA PEARSON CLASSICAL COACHING ACADEMY
Full Time Dancers Course (1 -3 yrs)
Pre Professional Course
Teachers Course
Part Time Program (Tiny Tots to Advanced Levels)
Location:  75 Chandos St. St. Leonards NSW
Contact: +61 2 94394424, Fax +61 2 9439 5352
admin@classicalcoaching.com
www.classicalcoaching.com

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LEE ACADEMY DANCE & PERFORMING ARTS
Full time performing arts 1 year & 2 year programs
Location: Tuggerah, NSW
Contact: 02 43 58 15 28
dance@leeacademy.com.au
www.leeacademy.com.au

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URBAN DANCE URBAN DANCE CENTRE
Certificate IV Performing Arts Course- Fully accredited 1 year full time Triple Threat Development. Dance|Sing|Act
Performance Courses – 6 month Youth and Adult Elite Dance Crews.
Scholarship Program – Advanced training with Industry professionals, the only scholarship program of it’s kind in Australia. 6 month or 1 year commitment.
Location: 39 Greek Street, Glebe 2037 NSW
Contact: 02 9571 7099
www.urbandance.com.au  

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ED5INTERNATIONAL
Certificate IV in Performing Arts – (NTIS Course Code: 91375NSW)
Diploma in Performing Arts – (NTIS Course Code: 91513NSW)
Location: Bakehouse Lane, 9 George St, North Strathfield NSW
Contact: 02 9746 0848 craig@ed5international.com.au
www.ed5international.com.au

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ECOLE BALLET AND DANCE THEATRE
Part-time Course for exam and Pre-Professional training ( Beginners to Advanced 2)
HSC Dance Preliminary and Full Course
Vocational (full time) pre-professional ballet and dance training courses
re-commencing 2012
Teacher training workshops, Teacher training courses re-commencing 2012
Location: Lindfield, N. Shore, Sydney
Contact:02 9416 8961
ecole1@optusnet.com.au
www.ecole.net.au

A.C.T

CANBERRA DANCE DEVELOPMENT CENTRE
Vocational full and part time dance course registered with the Board of Secondary Studies
Location: Mount Rogers Community Centre, Crofts Crescent Spence ACT
Contact:02 6259 1550
j.hallahan@dancedevelopment.com.au
www.dancedevelopment.com.au

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TAFE SA Adelaide College of the Arts
Bachelor of Dance Performance
Location: 39 Light Square, Adelaide SA 5000
Contact: 08 8463 5000
arts.adl@tafesa.edu.au
www.tafesa.edu.au/adelaide-college-of-the-arts

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Queensland

CONROY PERFORMING ARTS COLLEGE
2 year comprehensive full time dance program with leading Brisbane teachers and Interstate teachers flown up on a weekly basis.
During study and after graduation, students may be offered representation with ‘Rachelle Conroy Management’.
Location: Brisbane, QLD
Contact: 07 3205 7717
cpac@conroydance.com.au
www.conroydance.com.au

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AUSTRALIAN DANCE PERFORMANCE INSTITUTE
Advanced Diploma of Art (Classical and Contemporary Dance) or
(Musical Theatre and Commercial Dance) 30822 QLD
Diploma of Art (Classical and Contemporary Dance) or
(Musical Theatre and Commercial Dance) 30821QLD
Certificate III in Performing Arts 30879QLD (1 day per week)
Location: 31-33 Collingwood Street, Albion
Contact: 07 3262 2277
Email: beversen@adpi.com.au
Website: www.adpi.com.au

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Victoria

PATRICK STUDIOS AUSTRALIA
Full time Professional Development: Performing Arts
Full time Professional Development: Musical Theatre
Senior Elite, Intermediate Elite, Junior Elite
Intermediate Elite Preparation, Junior Elite Preparation
Location: 4/40 Green Street, Prahran VIC
Contact: 03 9529 8221 info@patrickstudiosaustralia.com.au
www.patrickstudiosaustralia.com.au

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SPECTRUM DANCE
Full time dance & performing arts course
Location: Burwood, Melbourne
Contact: 0433 733 187
spectrumdance@me.com
www.spectrumdance.biz
 
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DANCE WORLD STUDIOS
Advanced Associate in Fine Arts (Dance Performance)
Associate in Applied Dance (Techniques & Performance)
Foundation Course in Applied Dance
Advanced Associate in Music Theatre
Associate in Music Theatre
Advanced Associate in Dramatic Arts
Specialised training in area of interests.
Location: 295 Bank Street South Melbourne, Victoria, Australia
Contact: 03 9696 2943
info@danceworldstudios.com
www.danceworldstudios.com

By Nicole Saleh.

It was never going to be an easy task to find a new Artistic Director for one of Australia’s leading performing arts schools. Brent Street has long been known for its high energy dancers and cutting edge performances. It has established over the years a strong reputation for producing some of Australia’s finest talent. At any given time you’ll find Brent Street artists performing in musicals around the world, working as commercial dancers in the entertainment industry or even winning the title of Australia’s favourite dancer on the popular television show,
So You Think You Can Dance.

Excited to be taking on the responsibility of leading Brent Street into the new decade is the newly appointed Artistic Director, Cameron Mitchell. With many high calibre applicants vying for the role, it was Cameron’s passion, coupled with his teaching experience and award winning choreography, that made him the frontrunner. In addition to this Cameron has been part of the Brent Street journey as a teacher for the past 17 years whilst working professionally in the industry choreographing for major artists including Natalie Bassingthwaite, Kelly Rowland, and the popular kids group Hi-5. He’s also performed in the Australian productions of West Side Story, Hot Shoe Shuffle, Monty Python’s Spamalot and Baz Luhrman’s Moulin Rouge.

Brent Street Certificate IV students perform for Daffodil Day

I caught up with Cameron to have a chat about his artistic vision for Brent Street and his passion for developing the next generation of Australian performers.

Brent Street is recognised for producing exceptional talent. What’s Brent Street’s secret?
At Brent Street the teaching staff are working professionals who are currently in the entertainment field. Whether they’re a singer, dancer or actor, it’s important that we hire people who are working in the business. We have to be current in everything we teach, and we always try to be a step ahead and never ever complacent.

When the kids perform on stage it needs to come across in their performance that they love it. There is a certain amount of discipline that you have to have, but it’s still really important to keep that enjoyment level. In order for it to look believable, they have to enjoy it!

How important is it to study a full time course?
There is a different level of importance for different dancers. I think it’s great because for a lot of kids it’s like a finishing school. It’s taking all the tools that you’ve learnt, and really honing in and tweaking your skills so you can become a better performer.

A lot of the time the kids that enter the professional world straight from a dancing school aren’t versatile enough because they’ve always learnt from the same teacher. I think it’s especially important in a full time course to have many different teachers and be exposed to different flavours so that you really become a unique dancer, and a quick learner who is able to adapt. When I moved to Sydney there were no full time courses so I went to Melbourne. I remember learning from all these different teachers – that’s what I loved the most. I really encourage people to do it. Yes, you are a great dancer but you can be an exceptional performer if you do full time.

Who are some of the professionals that Brent Street has produced?
Matt Lee (Mary Poppins the Musical, So You Think You Can Dance judge & choreographer), Sharni Vinson (Step Up 3D), Nathan Foley (Hi-5), Charli Delaney (Hi-5) and a majority of the So You Think You Can Dance contestants. I remember the first year of So You Think You Can Dance we had three dancers in the top twenty, the second year we had six and the third year we had nine. They studied at Brent Street in some capacity, whether it was through the part-time school, high school or full time. Charlie Bartley in the second season came runner up, and then last year we got first and second because Robbie and Jess both came through the high school and part-time school, which was pretty incredible!

Can you tell me any interesting stories of when they were students at Brent Street?
I distinctly remember Matt Lee always being the first person in the classroom at a Wednesday night jazz class. He always wanted to learn and would put himself centre front before anyone else could get into the room. I think that’s a lot of the kids all the time now. You never have to drag them into a class at Brent Street.

What’s unique to Brent Street is the Talent Development School. Tell me about the success of this program.
The school started seven years ago because there wasn’t a program for kids in this country where they could do academics for half a day and perform for the rest of the day. At other schools it is factored in as a subject, so you have jazz, then you have maths and then you may have ballet. The academic program is unique because it’s done through distance education, so the students have one-on-one mentoring in their academics, and they have the same intensity of training in the performing arts streams. The calibre of the tutors and teachers that we have is so high it’s invaluable. Some kids are going straight from high school into the business before even doing full time. They always plan to do full time but for example last year, Mitchell Woodcock went straight into Westside Story and Robbie and Jess into So You Think You Can Dance. Now Robbie is in Burn the Floor. Briden Aspinall and Nancy Denis went straight out of high school into Hairspray The Musical. It’s amazing!

What attracted you to take on the role of Artistic Director?
I didn’t think that I could do it at first, but it was the fact that I knew the heartbeat of the place and I didn’t feel Brent Street was ready for somebody else to do it. The Artistic Director is responsible for overseeing all artistic facets, from the teachers to the students, and the development of all the curriculae across all the styles. I felt that I could help the school flourish and take it to the next level. There were also some great people already on the Artistic Council before I was appointed. I knew it would be a fantastic opportunity to learn from their wealth of experience and knowledge, and I just applied for the role like everyone else and had the interviews.

What is the new Artistic Council?
The role of the Artistic Council is to work with me in developing the four different aspects of the business. Caroline O’Connor is musical theatre and dance, Stephen Heathcote is ballet, Wayne Harrison is acting and drama and Kellie Dickerson is singing and also musical theatre. They are amazing! I’ve been friends with Caroline for 17 years and we did many shows together; Westside Story, Chicago, Moulin Rouge, and I choreographed her own show. It’s great to have someone of that calibre who’s still a working professional as part of the Council.

What is your artistic vision for Brent Street?
The big vision for me at Brent Street is to see it grow especially in the areas of drama and singing. I want dance to continue to flourish and always be ahead of its time. I want people to pick up a programme from a musical and see that more than half of the performers are trained at Brent Street. I want Brent Street to be the first choice for people who want a career in the performing arts and for it to be well recognised like WAAPA and NIDA.

Who have been your greatest influences throughout your career?
I still learn from my own dancing teacher, Barbara Ford, in Adelaide. She’s a great influence on me and has always remained current, especially in jazz. As an adult, Caroline O’Connor and Kelley Abbey have influenced me. I thanked Kelley at the graduation last year for proving to us that if you love what you do and you give 100% all of the time, you’re guaranteed longevity. From Caroline I learnt what it’s like to be successful and to still have so much class. No matter what you do, the next time you just have to be better. I also learnt from her that you always have something to learn as well as to give.

What advice can you give to prospective students thinking about an education and career in the performing arts?
Do it because you love it. If you want a career in the business you have to really want it. If you love to perform then this is the job for you. You have to give 100% all the time and also make sure you are always learning. It’s so important to keep training and evolving.

What aspect of your role at Brent Street has given you the greatest satisfaction?
What I’ve enjoyed is what I’ve learnt over the years and how I’ve grown as a teacher and choreographer. My dream was always to be a choreographer, and I wouldn’t be the choreographer I am today if it wasn’t for my time here at Brent Street working with amazing students and staff in developing my skills. I’m lucky enough to now have the role of Artistic Director and still continue to be a professional choreographer.

My greatest satisfaction is the students and the pride in watching them soar. There’s nothing like it! People say, ‘you don’t have any kids of your own?’ and I say, ‘I’ve got hundreds!’ You feel like the students are your family. It’s the pride that you have when you see them doing so brilliantly and you feel like you’ve had a part in their success. I just love it!

www.brentstreet.com.au

Malthouse Theatre
December 2010

By Grace Edwards

APO Arts Academy’s “Back in Business” brought together its recent graduates in a colourful showcase featuring scenes from over a dozen musicals; more than enough variety to satisfy even the ficklest of audience members.

Opening with the overture from Victor/Victoria, the company sang and acted with enthusiasm, ably accompanied by a band directed from the keyboard by Laura Tipoki. Among the brightest moments of the night were the trio of women from Little Shop of Horrors, and the Melissa Harrington’s comic rendition of “Screw Loose” from Cry Baby.

Most of the performers moved well in the ensemble scenes, and dance proved the strength of the group. The dancers’ presentation of their steps was polished, but the core technique required to dance at an advanced level proved more solid in some scenes than in others, most likely owing to the varying talents of the different dancers onstage in any given scene.

The drama scenes were entertaining as the performers showcased their personalities and comic timing. Many of the singers possessed a pleasant vocal quality, although there were some pitch difficulties at times.

The students of APO Arts Academy are trained to be “triple threats”, and although talented, it would be harsh to expect every graduate from a full-time musical theatre course to excel in all areas. In order to find employment in musicals of the calibre of Mary Poppins or Hairspray, however, students need to excel in at least one area. Whilst the APO graduates were certainly competent enough in the three arts, some need to be careful not to become “jacks of all trades, masters of none” as this will not serve them well in the already saturated world of musical theatre hopefuls.

As recent graduates, the performers will likely improve their skills and presence with real world experience, built on the solid training they have received at APO. No doubt they will continue to mature and develop, and realise their great potential on the world stage.

Best wishes to the 2010 class of APO Arts Academy. I wish them the greatest success and thank them for an enjoyable evening.  APO always knows how to put on a show!

Carriageworks, Sydney
December 11

By Chris Bamford

As the year ended, all the full time dance courses wrapped up and the students prepared for their graduation performances. I was privileged to attend Urban Dance Centre 2010 full time graduation performance – Urban Jam.

Sydney based Urban Dance Centre has been offering a Certificate IV in Dance for a number of years, so they are no strangers to staging a graduation performance. This showed as they delighted us with an evening of dynamic entertainment at Carriageworks – a perfect venue for this type of performance.

My first time at a UDC graduation, I was not able to compare the year’s graduates with past student performances, but overall the standard was quite high and the students showed promise.

The contemporary numbers stole the show, with contemporary proving to be the strong point of the year’s students. Jason Winters’ piece was well executed and the dancers did his brilliant choreography justice. Paul Saliba’s routine was extremely interesting and had every one on the edge of their seats, enthralled. Juliette Verne’s lyrical number was also excellent. Although I had already seen this piece performed at Carnival, it was nice to see the number on a larger stage and I enjoyed it more the second time around.

The group singing fluctuated in standard and was pitchy in parts, but the solo singers definitely made up for it. Hana Tuki, singing a number from Dream Girls, was a standout.

Veronica Beattie’s musical theatre pieces were also a highlight, with clever staging and choreography. I always love a good musical theatre number!

As with most full time courses we see varied skill across the different dance genres. At Urban Jam this was shown through the hip hop performances. The pieces by Rosa Agius and Ilona Fabiszewski were extremely well choreographed with interesting concepts, but there was a noticeable difference in the skill level of the dancers within the hip hop genre. I felt that the students didn’t pull out all the stops, like they did with the contemporary pieces. Having said that though, there were definitely some stand out performers.

All in all, Urban Dance Centre provided a fantastic night of entertainment. The graduates showed talent and dedication and no doubt they have bright futures ahead. I congratulate the UDC staff on another year of quality dance education and look forward to Urban Jam 2011.

Sydney’s ED5INTERNATIONALwill be starting 2011 with a bang, after twenty years as a leader in quality dance education. Here’s the news from Director Elena De Cinque.

So what’s the big news at ED5?
William Forsythe and Mario De Cinque are very excited about celebrating 20 Years of Junior School, 10 Years of our Certificate IV-Full-TimeCourse and the commencement of our new ED5INTERNATIONAL’S VETAB Government Accredited Diploma in Performing Arts.

How will your new VETAB Accredited Diploma affect dancers who want career success?
Performers who want a successful career now not only have the opportunity to be trained and completely prepared for agents and the entertainment industry, they are able to continue their training whilst working and also increase their career longevity. We are very privileged to have industry and agent support for our courses and the manner in which we deliver them.

What’s the difference between taking an accredited course, versus just taking a year of full time dance?
Evidently there is a difference between an accredited course and doing full-time dance for a year or two. Firstly, let us establish that both our courses are not dance only. The courses have been written and delivered and are owned solely by ED5INTERNATIONAL. They include dance, vocal, acting and all the other units necessary to prepare and produce a polished and employment ready performer.

An accredited course also means that it is a nationally recognised qualification. Students are able to extend their studies and training in other university related courses and more importantly it is constantly monitored and evaluated by the Government to ensure quality control for every possible aspect. There’s absolutely nothing wrong with doing a non-accredited full-time dance course, the more training the better, but you fundamentally need to know your intention, goal and desired result.

Who will be taking the course?
The Diploma will consist of naturally our current Certificate IV graduates moving to their second year, other Certificate IV graduates and many performers who are already working in the industry and want to maintain and extend their craft.  Entry to our courses is via audition only.

We currently have ED5INTERNATIONALgraduates in many musicals as leads and ensemble across the country. Our students have contracts with Universal Studios, Macau, Moulin Rouge and cruise liners and some are even extending their studies at the Drama Academy in New York. Students have also been featured in the SYTYCD Top 20 and the upcoming Happy Feet 2 movie sequel.

Visit ED5’s website for more information www.ed5international.com.au and go and see the 2010 Graduation Performance at the Parade Theatre-NIDA (8^th and 9^th December).

The Space Dance and Arts Centre full time students
The Space, Chapel Street, Melbourne
25^th September

By Rebecca Martin

Presented by The Space full time dance school and led by student Jayden Hicks, the dancers themselves created, fundraised, publicised, produced and staged Exhibit – The Misconception of Dance.  Comprised of eight vignettes, the piece explores the misconceptions of dancers and delves beneath the surface of the industry to reveal that there is more to dancers than high kicks and lavish costumes. 

I enter the studios of The Space after emerging from a sea of disgruntled AFL grand final attendees, and I am comforted by the dark stillness of the space which is punctuated by candlelight and motionless dancers positioned like wax statues throughout the venue.  I make my way up the stairs and adjust to the change of culture (from bogans to ballet) and take my seat in front of a dancer in a black hooded coat upon a dais moving slowly as smoke swirls around her.  

The piece begins with little fanfare, but the audience is instantly enthralled as two dancers throw themselves around the stage and on the floor with great intensity to pounding electronic music.  I lean forward in my seat a little as the cloaked figure joins in the dance with mysterious and angular movements.  Next we see a ballerina in white perform classical steps while four others move around the stage in flesh leotards emblazoned with question marks and statements such as “who are we?”.  Despite the very classical appearance of the dancers, they move seductively and suggest that we should not judge a book by its cover.

The thumping sounds of a modern track by Rihanna bring to the stage dancers in black bondage style gear with masks that imply secrets and hidden identities.  By now I am really on the edge of my seat.  A queen figure, dressed elaborately as if straight out of a Tim Burton film, reveals her kinky and crazy side while the leather clad dancers swirl around her. 

Sia’s haunting track Breathe Me brings us a heartbreaking solo that confronts the audience with the ugly side of a dance career – fighting demons, addictions, doubt, and self criticism.  The solo dancer is joined by two dark figures that she initially fights before accepting that all dancers must live with their demons. She dances in harmony with them before being overcome and disappearing from sight.

She later returns to the stage blindfolded where the ballerina in white removes the cigarette from her fingers and blindfold from her eyes, reminding her of why she dances and how easy it is to lose sight of what it is that we want and or of who we are. 

Jayden Hicks takes to the stage to tackle the question of sexuality that comes with the territory of being a male dancer. Hicks is an accomplished dancer with excellent classical technique which is apparent in his fluid movements and elegant extensions. 

The subject of eating disorders is approached with the dramatic use of blood stained finger tips and black shadows following the dancers’ every move.  This section shows the audience the anguish of every dancer as they are confronted with the temptation of food and alcohol and must decide what they want more – to give into temptation or fight on and succeed in the industry. 

The final section of the piece sees the unveiling of the cloaked figure and with all the dancers on stage wearing white ballet outfits and moving as one with freedom and joy.  Mirrors on the side of the stage are swung around so that the audience is staring at themselves while the dancers leap and turn in front of the mirror. We come to realise that the people before us, are us and only the strong can survive in the dance industry.  The piece begs the audience to applaud dancers, not deride them.

Exhibit is a piece that not only showcases the talents of The Space full time dancers, but also the burgeoning talents of creator, producer and performer Jayden Hicks. It is an intelligent and visually impressive work that breaks down the barriers between dancer and audience, and destroys stereotypes while opening the mind.  The dancers are fierce and competent, and they show their versatility through the fusion of styles presented in the choreography.

Published by www.danceinforma.com

A look at four of Sydney’s top Full Time Dance Schools.

By Dolce Fisher.

Ev & Bow

Ev and Bow’s I Want it All, was held at NIDA’s Parade Theatre which is a perfect sized theatre for a graduation performance. The night opened with a huge song and dance number to the show’s title ‘I Want it All’. The stage was packed with incredible dancers.

Two of the best items were both choreographed by the studio directors. Sarah Boulter’s Paint It Black and Lisa Bowmer’s Special Ones were both outstanding. There was a very creative vocal number called Foreign Land that featured a solo vocal performance while a few dancers performed isolated by spotlights. There was some powerful and insane movement!

Ev & Bow won the open jazz section at the McDonald’s Performing Arts Challenge with Enough is Enough which they showcased again at this performance. The item demanded technical precision and stamina and the choreography was even tighter than when I saw it at the Challenge.

Every item paraded the strong technical training that the students had received throughout the year. The drama performances were also very entertaining, although the vocal numbers could have been a little stronger for the level of training.

Overall the standard has improved from last year. As one of the newest full time courses, only in its second year, Ev & Bow is going places.  Sarah Boulter and Lisa Bowmer are nurturing some amazing artists and there seems to be a wonderful rapport between the directors and the students.

Urban Dance Centre

UDC’s Urban Jam 2009 at Carraigeworks showcased a mix of their full time dancers, performance groups and casual class students. This made it a little hard to get a feel for the full time department of the school, but the additional performances created a jam-packed evening bursting with variety.

I enjoyed a wonderful performance from young students Alysha Percy and Ryan Buenaventura, who are part of a youth performance group.  A notable item called Chicago by Rosa Agius had a great concept with a hip hop flair added to a few famous tracks from the musical and Tiana Joubert’s High School Musical piece stood out it as it had a really strong theme. The choreography had some clever transitions and humour.

Costuming, in general, seemed a little casual but the best looking item was the opener – Fun House, choreographed by UDC’s Artistic Director Juliette Verne. It was fun, entertaining and dynamic. Juliette Verne creates some amazing choreography.

Unfortunately, the dancers got a little lost on the huge stage at Carriageworks. Although Carriageworks is a great theatre it made it hard for the work to connect with the audience as the space was just so sparse. On a smaller stage the dancers would have looked stronger.

The students are very proficient at hip hop, which is what UDC is known for. A number of the dancers needed a little more core strength and in the more technical disciplines the use of feet and elevation was a little lacking for a few. There were, however, several stand out dancers who are leaving the full time course in good stead. The standard has improved and UDC is definitely going from strength to strength.

Although the show was very long, it was enjoyable and showcased the many facets of Urban Dance Centre well.

SWAP Photography

Also held at NIDA’s Parade Theatre, ED5’s Full Time Performance was very entertaining and professional. The evening had one slick number after the other, making it hard to pick stand outs. The solo vocal numbers were hilariously entertaining and the group vocal numbers were all really well coached with excellent harmonisation and blending. A ‘FaceBook’ song was very funny and a piece called ‘All the Good Men are Gay’ was hysterical, with all the female singers dressed in wedding gowns.

All the dance numbers were really polished and energetic with a high level of performance. Every item was appropriately dressed for the style, theme and era which made the students look very professional.

The evening showed that the ED5 full time students have been exposed to a wide variety of disciplines and have grasped all of them, with Jazz, Hip Hop and Musical Theatre high on the agenda. Many schools attempt to train triple threats but sadly miss the mark. This is not the case at ED5.

There were many talented performers, so much so that a few of them have already been employed in the industry. Emily Cascarino was absent from the graduation performance as she has been cast in Mamma Mia and talented all rounder Emma Watkins recently won the Sydney Opera House dance competition called My Mutation. There were also several male students, all with great potential, which is really exciting.

ED5 is proving to be one of Sydney’s leading full time dance studios.

Tanya Pearson Classical Coaching Academy

Students from Tanya Pearson Classical Coaching Academy took part in the Sydney City Youth Ballet’s performance of Nutcracker in early December. Tanya Pearson is the founder and artistic director of the Sydney City Youth Ballet which started in 1971.

Held at the Glen Street Theatre, the show was delightful, demonstrating to us that Ms Pearson has created a wonderful opportunity for young dancers to gain performance experience in a professional environment. It was a great family spectacle and possibly the first ballet experience for many youngsters in the audience.

The dancers gave us a grand show with impressive technique and performance level. There were countless talented dancers in the cast, particularly Evan Loudon and Annabelle Miranda.  Shayarne Matheson also gave quite a mature performance. The students were joined by guest artists Yosvani Ramos and Kristy Corea from the Australian Ballet at special performances, which must have been such a thrill for them.

Although the Glen Street Theatre is a wonderful venue, unfortunately the stage was a little small for this performance. It would have been nice to see the dancers really travel around the stage. However, Nutcraker was a magical Christmas treat. It showcased the prowess of Tanya Pearson’s many talented full time dance students who have exciting futures ahead.

Very top photo: ED5 International

By Rebecca Martin.

On December 17th students from Jason Coleman’s Ministry of Dance took over The Palms at Crown for an evening of spectacular live performances including singing, dancing, and acting.

The Ministry of Dance inaugural concert, Dance Jam, was highly anticipated and tickets to the show were hot property.  Given the hype surrounding the new school the audience was keen to see whether Jason Coleman’s students were going to live up to expectations.  The pressure was also on Coleman to show that his full time dance institution was a necessary addition to the plethora of schools that already exist.

With cabaret style seating, a bar, cocktail tables and lamps, booths, and room for 800, choosing The Palms at Crown to hold the performance sent a clear message that this wasn’t going to be any ordinary dance school concert, it was going to be a professional show.  And rightly so, as the course at Ministry is only one year of full time training, so the dancers performing are about to embark upon professional dance careers.

Photo Copyright Belinda Strodder

The show opened with a single dancer on stage with a microphone.  She stood downstage and spoke about being a dancer.  Her monologue finished with the words “I am a dancer” at which point the otherwise bare stage was flooded with the remaining 65 dancers of the school who were all repeating the words “I am a dancer”.  The sheer number of dancers on stage speaking, rather than dancing, was hypnotising and the audience instantly knew they were about to experience something special. 

Jason Coleman strode onstage as the dancers exited and began a monologue.  He told us that dance students could go to a ballet school and be a ballet dancer, go to a contemporary school and be a contemporary dancer, go to a jazz school and be a jazz dancer, or go to his school and be a dancer.  He told us that the ballet at his school was real ballet, the jazz was real jazz and the hip hop was real hip hop.  He shared that the dancers graduating from his school were fluent in all styles of dance as well as singing and acrobatics and then began a showcase of the variety of styles the dancers had learnt, as well as championing the professional gigs they had undertaken during their year at Ministry. 

The first pure dance piece of the night was Stephanie Tulloch’s Fuse & Frolic which was a contemporary piece that had strength in numbers and was one of the evening’s highlights.  Almost all of the school’s 66 dancers poured onstage to the sounds of Irish music and the combination of fluid choreography, use of lighting to create silhouettes and the incredible competency of the dancers made this piece a sensory feast. It was an excellent beginning to the show.  Students Tim Barnes and Jayden Hicks were an instant standout and almost overshadowed the ensemble.

Piece three was a jazz number by Sue-Ellen Shook with excellent choreography and flawless execution from the dancers.  Their precision and timing was ‘spot on’ and their energy was high.  This style of dancing was a better fit for the dancers, hinting that they were either primarily jazz dancers or that a lot of their training is focused on this style.

By the time the tap shoes were pulled on and seven of the dancers performed their own choreography to It Don’t Mean a Thing the atmosphere was electric and the audience was clearly enjoying the show.  The enthusiasm and personality of the dancers in this piece was inspiring and the choreography showed great promise.

Photo Copyright Belinda Strodder

Next came a ballet performance, The Palace by Claire Campbell. Again, Barnes and Hicks shone with strong technique and confident execution and while the piece was lovely overall, it lacked a little energy. It was sadly the only ballet piece in the night’s programme.

The classical dancers were ushered off stage by Paul Davis’ tap piece Lose Control. The number showed why Paul Davis is one of the best in the business with his unique tap style and innovative choreography.  His piece almost had the audience on their feet. 

A beautiful contemporary piece from Paul Malek reminded us why he is such a successful choreographer.  His piece, You and Me brought the momentum of the show to a halt and the audience caught their breath. The dancing was calm, lyrical, and emotive with a feeling of loss and searching. 

A collection of songs from the musical Chicago exhibited the vocal talents of the school and proved that the strength of the Ministry students lies not only in their technique but in their showmanship.  The young Robert Moorcroft showed great potential as one of the few men in the piece. 

Photo Copyright Belinda Strodder

The year’s scholar Mitch Fistrovic was mesmerising in a contemporary pas de deux to live piano and vocals to The Beatles’ Let It Be.  Fistrovic’s talent and artistry were exceptional from the onset and showed the audience that he was worthy of the award.  This piece could have easily veered into cheesy territory, but instead was all class and goosebump inducing.

The production itself was smooth, albeit late running.  The transition between each piece was flawless with no breaks and subsequently no opportunity for the audience to get restless.  Coleman’s students should be applauded for their stamina which did not falter at any stage of the difficult programme.  The final few pieces continued in the hip hop and jazz vein with one piece incorporating the use of an oversized boom box which implored the audience to turn it up and they couldn’t refrain from doing so as the cheers and applause increased.  By the conclusion of the performance, Jason Coleman’s Ministry of Dance had shown that dance is cool, fashionable, and relevant.  But of course, we already knew that, and if any of the audience didn’t they certainly left the venue with the knowledge.

The night’s programme stayed true to the formula of So You Think You Can Dance.  Each of the pieces was entertaining and showed the dancers in fine form. It seems that Ministry of Dance’s forté is in training dancers who can perform a variety of styles and excel in hip hop and jazz.  Such is the climate of dance in Australia, given the influence of music videos, pop music and dance shows on television.  The professional experience the students received during their time at the school was evident and will no doubt hold them in good stead for their future careers. 

Congratulations to Jason Coleman and his Ministry of Dance on an outstanding performance.

Check out the Image Gallery for more photos from the night.