We can all remember jazz ballet, jazz hands, lycra, sequins, lace-up jazz shoes and Flashdance, but what is jazz dance now and how has it evolved?

Jazz dance is no longer solely the domain of fan kicks and shimmies. The term “jazz” now incorporates a broad range of dance styles. Prior to the 1950s, jazz dance was a style that originated from African American dance and in the 1950s “modern jazz dance” emerged, with roots in Caribbean traditional dance. Every individual style of jazz dance to this day has roots traceable to one of these two distinct origins.

Beginning in the 1930s and continuing through the 1960s, jazz became a form of dance that required the dancer to be highly skilled, and during this time, both modern and ballet choreographers including George Balanchine, Jack Cole, Jerome Robbins and Bob Fosse experimented with jazz dance.

Jazz dance develops in parallel to popular music, with jazz being the physical embodiment of popular music of a given time.  It therefore continues to evolve and remain popular across the world and across age groups.

Dance Informa sought to uncover what is being taught as “jazz” in Australia’s leading dance programs and spoke with the directors of some of our country’s premier institutions.

Students at Urban Dance Centre, Sydney

Juliette (Jet) Verne
Urban Dance Centre, Sydney

What styles of jazz does your school teach?
Urban Dance Centre teaches traditional jazz with a taste of modern flavor. We believe and are very passionate about the classic technique, power and clean lines of traditional jazz and we include and are continuing to grow with today’s modern movement, music and styles.

What makes a great jazz dancer?
A great jazz dancer owns their dancing with power, technique, confidence and style. Someone who is unpredictable with outstanding technique and a whole bunch of fire!

Where do you draw your inspiration from when teaching and performing jazz?
I draw my inspiration from successful dancers/choreographers such as Desmond Richardson, Gil Duldulao and our very own Kelly Abbey. Plus my family, UDC faculty and students, and music inspire me every day!

How do you think jazz has influenced other styles of dance?
I think jazz has influenced many styles of dance and music. A lot of pop artists throughout the years have fused jazz and hip-hop styles together and have come up with some amazing dance routines in their music videos and live concerts. Lady Gaga, Madonna, Beyonce and Janet Jackson, to name a few, have all had a jazz influence within their repertoire and have produced some very exciting and inspiring work.

What do you think jazz is now and how has it changed?
I feel jazz dance styles have branched out to many exciting new and different styles like lyrical jazz and JFH (Jazz/Funk/Hip Hop) and is constantly growing and changing. Like any art form, jazz will continue to grow, morph and change which is why we as a dance community are so passionate about it and love it!

Dancers perform iconic Fosse jazz choreography in the Australian production of ‘Chicago’. Photo by Jeff Busby.

Todd Patrick
Patrick Studios, Melbourne

What styles of jazz does your school teach?
At Patrick Studios Australia we offer a number of different styles. In jazz particularly we teach jazz technique classes tailored to beginner, intermediate or advanced students. We also specialize in jazz classes that include a technical routine as well as Broadway jazz classes taught by Australia’s leading musical theatre choreographer – Andrew Hallsworth.

What makes a great jazz dancer?
A good jazz dancer has wonderful technique and lines with a good base in classical ballet. Men, in particular need a strong grounding and a masculine edge to their dancing.

All great jazz dancers dance with power and can interpret music well. These days there are some extraordinary dancers that master their technique. This is incredible to watch but I strongly believe that there is no point in doing 10 turns into an incredible jump combination finishing with a back handspring if you do it like a gymnast. I love all of that, I think it’s exciting, but I know that with a sense of performance and feel for your music you will make a connection with your audience that will far outweigh technical feats.

Where do you draw your inspiration from when teaching and performing jazz?
I am incredibly inspired by the dancers around me, especially my students, each and every day!

How do you think jazz has influenced other styles of dance?
Jazz is in every style of dance, it’s a natural way of moving.  You don’t have to have the perfect facility to be a great jazz dancer; therefore, jazz is a style that runs through many genres of choreography. More than anything, its influence is seen in every new generation coming through as they watch A Chorus Line or Footloose, or any show or movie that inspires children to take their first steps towards a dance studio.

What do you think jazz is now and how has it changed?
Jazz is IMPORTANT, that’s what I know.  The three major musical theatre auditions this year were all about technique and style; Lion King, Grease and Wicked are all shows that you must have a strong technical foundation for. If you want to be a successful dancer you must have jazz training. Sometimes I think lyrical becomes what younger dancers think is “in”. In fact, it is derived from a fusion of jazz and contemporary.

Real jazz is athletic and sexy, it’s full of energy and grit, it’s sweaty and exhausting, from the sensuality of Fosse to the strength of A Chorus Line. Personally, jazz for me will always be a Barbara Warren Smith class. She has taught most of Victoria’s jazz dancers how to roll a shoulder and tip a hip unlike anyone I know. She is still the sexiest woman strutting her stuff in the studio as she was when I first had the privilege of taking her class.

Cameron Mitchell
Brent Street, Sydney

What styles of jazz does your school teach?
Commercial jazz, Broadway jazz, JFH (jazz/funk hip-hop), lyrical jazz – basically every form of jazz.

What makes a great jazz dancer?
Versatility is the most important thing for any dancer. You must be able to adapt to any choreographer’s style.

Where do you draw your inspiration from when teaching and performing jazz?
The music! That’s where it all begins. I let the music tell my body what to do and feel.

How do you think jazz has influenced other styles of dance?
I think in this day and age all the styles influence each other. Hip-hop has a jazz flavor, yet jazz is heavily hip-hop influenced.

What do you think jazz is now and how has it changed?
If it’s really good it is because it has evolved. All jazz can have the feeling of times past but it really has to be modern – even Broadway, if it has a new spin. It’s great.

Top photo: Talia Fowler and the Australian cast of FAME. Photo by David Wyatt.

By Linda Badger.

Emma Clark only graduated from her full-time studies in 2009, but she already has numerous theatre and television credits to her name. The young star is gracing the Australian stage again in The Addams Family musical, currently playing at Sydney’s Capitol Theatre. Dance Informa’s Linda Badger got the chance to chat with Emma between rehearsals.

What is your background as a performer?

I originally trained in classical ballet at the Jane Moore Academy of Ballet for 10 years. Then in my adolescence I took classes at Dance World Studios. To further hone my skills I completed two years of full-time dance at Patrick Studios Australia, graduating in 2009.

I always enjoyed singing in choir in high school, but I didn’t take my singing seriously until I was 18, when I began lessons with Susan Anne-Walker. I’ve seen a few teachers since then and have recently started vocal coaching with Peter Bodnar.

Tell us a bit about your role as an ‘Ancestor’ in The Addams Family musical.

I play the ‘Saloon Girl’ Ancestor.  My character is straight out of the Wild West in the 1850s. It’s a sassy role, and the beautiful costuming brings my ghostly quality to life.

Emma Clark (centre with arm raised) as ‘Ancestor’ in The Addams Family. Photo by Jeff Busby

What was the audition process like?

Like most auditions, The Addams Family audition process was extremely nerve racking. We have been blessed with an incredibly warm and nurturing creative team, so from the start of the audition process the energy of the panel was friendly, which helped make it not too daunting. There were quite a few dance rounds and lots of singing and scales to the highest of high notes. Most of the ensemble members cover the leads in the show, so there was also scene work to prepare and perform.

Were you an Addams Family fan growing up?

I wasn’t really allowed to watch TV growing up, so I have become a fan in my adult life. Since getting into the show I have caught up on the original black and white TV version that was filmed in the 1960s. My mum says she loved watching it as a kid. It is clever and darkly witty – a style that is a parallel to the musical.

What has been the best, and the most challenging part of the experience so far?

One of the most challenging things has been building up the stamina to sing the opening number, which includes some high-intensity dancing! There is also a fair amount of partner work in the show. It has also been extremely enjoyable, although challenging, to learn the infamous tango.

Any highlights of the show we should particularly look out for?

Without spoiling any of the magic of theatre, all I can say is that this show will surprise you. It is extremely touching and the family themes that run throughout the story line will make you realise that the Addams family, even though creepy and kooky, many not be too different from your family.

You have had quite a few roles in various shows, what is unique about this role?

I’ve never played a dead person before!

The cast of The Addams Family. Emma Clark can be seen behind ‘Uncle Fester’. Photo by Jeff Busby.

What is the most exciting place you have travelled to so far in your career?

The most exciting place I have travelled to would be the Philippines. I went there on my first contract, which was with Cats. I was cast as ‘Cassandra’. I will never forget the excitement and nerves that I experienced in my first job. Everything was new; the wigs, the crazy makeup and the demands of an eight-show week. I relished in the challenged and I will never forget it.

If you could perform any show, what would be your dream role?

Chicago. I will play ‘Velma’ one day…fingers crossed.

Any advice for young performers who are hoping to chase the dream of performing in musical theatre?
A quote from Don Miguel Ruiz’ book ‘The Four Agreements’¹ – this is the fourth agreement and something I live by: “Always do your best: Your best is going to change from moment to moment; it will be different when you are healthy as opposed to sick. Under any circumstance simply do your best, and you will avoid self-judgement, self-abuse and regret.”

We want to wish Emma and the cast of The Addams Family all the best with the show!

The Addams Family is currently playing at the Capitol Theatre Sydney. Tickets are available through Ticketmaster. Visit www.ticketmaster.com.au or call 1300 723 038 for bookings. For more information, visit www.addamsfamilythemusical.com.au.

Source:
Ruiz, Miguel: The Four Agreements: A Practical Guide to Personal Freedom
(A Toltec Wisdom Book), Amber-allen Publishing Inc.
Publication Date: November 7, 1997 | ISBN-10: 1878424319 | ISBN-13: 978-1878424310

Photo (top): Emma Clark. Photo courtesy of AB Publicity 

By Rebecca Martin.

After all the blood, sweat, tears, hairspray, blisters, bruises, melt downs, costume changes and fun, it’s time to graduate from full-time dance training.

Now what?

You may have dreams of Broadway or West End, Paris Opera Ballet or The Australian Ballet, the world stage or opening your own dance school, but it’s unlikely that you’ll be able to achieve these dreams straight out of training.

Here are some tips to help you reach your dreams.

Get experience – Loads of it

Fill your CV with as many different things as possible, and say yes to every opportunity that comes your way. Saying yes to job offers can strengthen connections with key industry players who can get you a step closer to your ultimate dream.

For all the thousands and thousands of dancers in Australia that want a job in their industry, very few of them will be fortunate enough to earn a living from dancing. There are limited companies with limited places, and directors want a performer that has treaded the boards a few times and can be relied upon to carry a show and handle the strenuous life of performing.

Get an agent

Many auditions are by invite only and must be done through an agent. Find yourself a good agent who knows your strengths and weaknesses who will source work for you.

Think outside your comfort zone

If you’ve trained in ballet, consider musicals.  Phantom of the Opera has roles for ballet dancers. If you’ve trained in jazz, take some acrobatic classes and audition for a cruise ship. Consider working behind the scenes in choreography and production. Audition for TV commercials and TV shows. Teach other dancers, perform at theatre restaurants, try character roles at Movie World and other theme parks around the world, put on your own show, travel, experiment, don’t stop learning and don’t turn down any opportunity.  You don’t know where it may lead.

Dance Informa spoke to some dancers who have had varied and fulfilling careers since graduating from full-time dance schools:

Hayley Uberti
Graduate of The Space Dance and Arts Centre

What are some of the things you have done since graduating?
Since graduating I have been very fortunate to be able to work with some great choreographers and experience different performance avenues. I have worked for Grayboy Agency (William Forsythe’s choreography) on a Princess Line Cruise Ship that sailed the world, I have been a part of three pieces performed by Vertical Shadows that were directed and choreographed by Stephen Agisilaou, [and] performed in various corporate shows, events and video clips. I have had small acting roles with Opera Australia, short films and TV commercials and worked around Australia and Singapore with suit work contracts. I have been teaching for over 10 years and have recently ventured into professional choreography, including corporate events and fashion shows.

What advice do you have for new graduates who are embarking on a dance career?
Be patient, attend as many auditions as possible to gain experience and expose yourself to various choreographers who may not cast you today but will always remember faces. No doubt you will come across them again.

Don’t let your full-time training go to waste, keep up classes and commit yourself to continually building your craft and keeping in shape. Keep those ballet classes up!

Robert Kelly

Robert Kelly
Graduate of Western Australia Academy of Performing Arts

What are some of the things you have done since graduating?
While training at WAAPA I was fortunate enough to take an original piece I created to rural areas in Western Australia. Then later I danced in the corps de ballet with West Australia Ballet.

After Perth I went on to dance as a guest for the National Theatre Ballet School in Don Quixote and Le Corsaire, both of which went on tour all around Victoria. I ended up dancing in three other touring companies in Australia all of which were a great artistic experience and also a paid experience…which is not so easy to find these days.

I have taught company classes and student workshops for people from all over the world. I’ve also created major works locally and overseas to audiences of more than 2000 and was employed by the Catholic Church to create a surprise work for a congregation.

Aside from being a dancer I’ve been a choreographer, teacher, costume designer and director of my own company.

What advice do you have for new graduates who are embarking on a dance career?
If you start with an open mind but a solid discipline you can kick a few goals. Most importantly be fair to those who were even 50 percent as fair to you.

If new graduates are planning to use their Bachelor of Arts, Diploma of Dance or Diploma of Education for a career in Australia they are on solid ground for entry into arts psychology, physiotherapy or other positions that are not directly movement related.

Always be polite in the audition process to everyone. Use this opportunity to make friends, contacts and evaluate situations. The dancer has to be out for themselves first and foremost as it is a ‘cut-throat’ industry but that does not mean that you can’t make a good friend or two.

Katie Hurst-Saxon

Katie Hurst-Saxon
Graduate of International Ballet Academy NZ

What are some of the things you have done since graduating?
After graduating at 16 I was offered a contract with the Royal New Zealand Ballet straight away. By the age of 19 I had my first Principal role. I spent nine years with RNZB, dancing many lead roles and also different styles of dance. Along with the pure classical ballets we performed, we also did a great amount of contemporary and neoclassical works. After nine years I decided I needed a break, so I headed back home to Christchurch and did a bit of teaching. I choreographed a few dances for students doing competitions too. After about a year I realised that I did still want to dance and I have been freelancing for the past year. I did Angelina Ballerina with RNZB (as Angelina), Giselle with Melbourne Dance Theatre (as Giselle) and am now rehearsing for the Australian Conservatoire of Ballet’s Sleeping Beauty (as Carabosse and Aurora.)

What advice do you have for new graduates who are embarking on a dance career?
Don’t give up! It’s likely that you’ll have rejection and criticism thrown your way, if you let that get you down you’ll have trouble surviving in this world. Use the bad to make you even stronger. Be strong, be confident, know what you want and don’t stop till you’ve done everything you can to get it.

Jayden Hicks

Jayden Hicks
Graduate of The Space and Ministry of Dance

What are some of the things you have done since graduating?
In the past two years since graduating I have performed with Vertical Shadows (Release The Stars and On The Rocks), in Stage Art’s production of Matalor, completed a secondment with Chunky Move for Keep Everything, toured with Melbourne Ballet Company in On Air and Infinite Space, was a featured dancer in Quirky Productions’ La Cage Aux Folles, performed in the burlesque piece Holy Ship at Red Bennies, appeared in a music video for singer Sam Burke and performed in Industry Nights’ Immersed and Underground, as well as Short and Sweet: Dance. 

I teach for The Space, Jason Coleman’s Ministry of Dance, Elevator Studios, Gippsland Academy of Dance, Vicki’s Dancing Academy, Backstage Dance Studio, Pole Divas and Volar Dance Centre. I also do dance and aerial consulting including silk, hoop, pole and dance collaboration.

What advice do you have for new graduates who are embarking on a dance career?
Don’t try to follow in someone else’s footsteps. The beautiful thing about the dance industry is that there is no right or wrong way to succeed. There is no set direction that you must take once you graduate. Keep expanding your knowledge of dance and the dance community and find your own way to success. Also don’t pigeon hole yourself into a stereotype. The more versatile you are the easier it will be to find work.

Gina Brescianini

Gina Brescianini
Graduate of McDonald College and The Australian Ballet School

What are some of the things you have done since graduating?
I have opened my own yoga centre called Radiant Awakening in Sydney where I teach Kundalini Yoga and Pilates. I also teach ballet to adults at Sydney Dance Company studio. I teach ballet, yoga and Pilates to the senior students at McDonald College and ballet and Pilates at Dorothy Cowie School of Dance.

What advice do you have for new graduates who are embarking on a dance career?
Give it all you’ve got everyday. Learn as much as you can from all teachers, choreographers and dancers. Have fun and enjoy it, stay focused and know that we all have good days and bad days and it is all worth it!

Samantha Dodemaide

Samantha Dodemaide
Graduate of Patrick Studios Australia

What are some of the things you have done since graduating?
You name it, I’ve most probably given it a red hot go. My ultimate dream was always to be a musical theatre performer, but I knew this was also the dream of many others and that it would take a lot of hard work (even after I had finished three years of full-time dance training). So after graduating I made sure I didn’t stop training, made sure I was attending dance class and singing everyday, taking acting lessons and working hard at the gym.

I was lucky enough to land a job performing at Witches In Britches theatre restaurant, as part of their five-person comedy show (which allowed me to sing, dance and act.) I also landed a few small-scale jobs both here and overseas, fashion parades, club free styling, kids’ shows such as A Looney Tunes Christmas in Singapore and touring pantomime shows of Cinderella and Sleeping Beauty.  I travelled to Dubai multiple times as part of a cheerleading team for the Dubai Rugby 7’s Tournament. I was working for a children’s musical theatre school teaching dance and drama most nights of the week.

Throughout all of this I was attending multiple musical auditions but couldn’t seem to break my way in. Then after what seemed like an eternity it finally happened. Since landing my first show which was Wicked at Universal Studios Australia I have also now performed in Anything Goes, The Producers and A Chorus Line. Most recently I have been performing alongside Geoffrey Rush in A Funny Thing Happened on the Way to the Forum.

What advice do you have for new graduates who are embarking on a dance career?
Follow your dreams and they will come true! I truly believe you can make anything happen if you put your mind to it. As long as you are patient, work hard, and are 110 percent committed to your craft you cannot fail. You can never stop improving, and the more time and energy you spend improving yourself, the more success you will have.

Top photo: Dancer Katie Hurst-Saxon

National Theatre, St Kilda
September 8 2012

By Rebecca Martin.

Immersed is one of those wonderful nights when Melbourne’s dance community comes together to share their work and float in the glory of what is a very deep pool of talent.  While Immersed is a celebration of dance, tonight it was all about spaghetti.

Created by the brilliant Paul Malek and his company Collaboration The Project, Immersed has been running yearly since 2009, giving upcoming as well as established performers the chance to shine and also to see what else is going on in the local dance scene.  This year we saw 23 pieces from some of our best full time dance schools, solo artists, youth companies, and seasoned groups.

A rich partnership between Malek, Adrian Ricks, Yvette Lee, and Nadia Tornese opened proceedings and set the bar incredibly high for the rest of the performances.  The Space Dance and Arts Centre presented a strong piece created by Los Angeles’ Meredith Kerr which was closely followed by the award winning piece One choreographed by Rain Francis and danced by Rain and Lucky Dance Theatre.  Rain is certainly a choreographer to watch and her company is full of technically sound and fearless dancers.  Dance World Studios brought a taste of Asia to the National Theatre stage in an epic piece that saw the dancers clad in kimonos and wielding parasols.  Fortunately, this wasn’t an eisteddfod piece, but rather a high energy and engaging dance that used the Asian theme cleverly and was a definite stand out.

Jason Coleman’s Ministry of Dance and Patrick Studios Australia presented loud and exciting pieces that saw the stage full of dancers. They were incredibly effective in getting the audience to cheer and the dancers to perform at their best.

I was very happy to see tap and Irish dance get a guernsey, and to also to see the talented Benjamin Hancock on stage.  He performed a solo piece on a circular piece of carpet which he didn’t stray from.  Hancock was mesmerising.

The undoubted highlight of the night was the unexpected finale to the first half of the evening.  Spaghetti Slobs performed by Miss Friby and choreographed by Elizabeth Dawson-Smith, saw the two dancers in a genius display of comic timing and flying spaghetti.  It was unexpected and brilliant.

Malek and all of Melbourne should be bursting with pride at the amount of talent Melbourne is producing.  We have dancers, choreographers, companies, schools, and producers of the highest calibre and I certainly left the theatre inspired.

Joshua Horner and Samantha Dodemaide, stars of A Chorus Line.

By Rebecca Martin.

Direct from Broadway and a U.S. Tour, an all-new Australian production of one of the most successful American Broadway musicals of all time, A Chorus Line, is coming to Adelaide and Melbourne. A notoriously difficult musical for a performer, A Chorus Line demands high energy and everyone must be able to sing, dance and act.  It’s the best of the best in one show.  Audiences are set to be blown away by the talent of the Australian cast. 

Hailing from Wyong in New South Wales, Joshua Horner has made the leap from The Australian Ballet to the glitz and glamour of Broadway and television.  Since making the transition into musical theatre, audiences have seen Josh as a judge on Dancing With The Stars, and in productions including Billy Elliot, Dirty Dancing, Tivoli, Movin’ Out, and Guys and Dolls.  With a career that has so far seen him perform on Broadway, in London’s West End, and as a choreographer in Los Angeles, it is with great pleasure that we welcome Josh back home to play the role of Zach in A Chorus Line.

Joining Josh on stage is Samantha Dodemaide, an up-and-coming performer from Melbourne.  At the young age of 22, Sam has already appeared on stage in productions around the world.  From Melbourne, Sam trained at The Children’s Performing Company of Australia, and after graduating from High School, joined Patrick Studios Australia’s (PSA) full time course.  Sam will be featured in the role of Lois.

During breaks in their hectic schedules, Sam and Josh found time to answer questions for Dance Informa readers…

Samantha Dodemaide

Tell us about your background and training Sam.
When I started I wasn’t much of a dancer (I would say more of a skilled mover), until I met the director of PSA, Todd Patrick! This man was determined to make me the best possible dancer I could be. He yelled, pushed, chased me down the room screaming, told me I could jump higher, turn faster or sing better, and I am thankful every day for his unfailing belief, support and encouragement.  After completing 3 years of the course, I landed my first professional job as a part of the ensemble in WICKED at Universal Studios Japan, where I spent 13 wonderful months. This year I decided to develop my skills some more, and returned back to train full time at Patrick Studios Australia’s new Musical Theatre Course, focusing on becoming the most refined and polished performer I can be.

Sam, landing the role of ‘Lois’ in A Chorus Line must have felt like a dream come true. Has the reality sunk in yet?
A dream come true? Well that’s an understatement! I am still so thrilled and overwhelmed and feel very privileged to be given the honour to perform in one of the most classic and momentous shows. Although I really don’t think it will all sink in until we are standing up in that chorus line on stage in front of an audience! That’s when I will have to pinch myself to see if I am dreaming!

Josh, you’ve been performing overseas for some time now.  Is it exciting to be able to come home and perform in Australia?
I’ve had so much awesome feedback from friends and fans of my work saying how excited they are that I’m back performing.  I’m really not out to prove anything to anyone though.  I’m Josh Horner.  I’ve been a consistent worker in the dance industry my whole life, I love this business and I’m passionate about growing and getting better. I encourage anyone to chase their wildest dreams.  That’s all I did, I had dreams and I chased them.  If I can share my passion for performing with Aussie audiences again then it’s a win-win for all.  I appreciate the opportunity to dance again in Australia, especially with a great cast.

Josh Horner. Photo by Damian Tierney

Josh, are you looking forward to returning to the stage after a stint behind the desk on Dancing With The Stars in addition to time spent as a choreographer?
Absolutely.  Well, it is a little daunting.  I made a decision 3 years ago to be done with shows and focus on my own creative ventures, but when I was asked to audition for the show, the inner dancer inside of me was busting to get back to the stage.  It’s also very warming to know I will gain another new musical family. When you do a show you instantly feel a great sense of security and family.  I have missed that feeling.

Where do you call home these days Josh? 
Crazy question.  I just turned 32 and I’m still living like a gypsy.  I have a bed in NY, a car in LA, a car in Wyong and boxes of clothes and belongings everywhere.  I think I still have some in London (laughs).  Home is between LA and Australia at the moment.  I have my Green Card so I divide my time and commitments between both countries.

Sam, your bio for A Chorus Line says that you’ve only ever wanted to dance and sing. If you had to give it all away, what other career path would you follow?
I have been asked this question quite a lot, because people are always surprised when I tell them I’ve only ever wanted to be a performer. It wasn’t always musical theatre that I wanted to do. I originally wanted to be an actress in television, movies, and serious theatre. But then one day at a family function someone gave me a microphone…let’s just say it turned out to be a very long night for everyone! So I never really had to think about it, it was set in stone from a very young age. I wanted to spend the rest of my life on the stage, singing dancing and acting! However, if I really had to give it all away, I would love to be involved in casting. I think being a casting agent would be amazing – discovering talent, and helping make peoples’ dreams come true.

You’ve no doubt done your fair share of auditions over the years Josh, how does it feel to be bringing that experience to audiences with A Chorus Line?
A Chorus Line is a must see show.  The show is all about an audition.  You get to meet all the different characters and I think any dancer or non-dancer can identify with every single one of them. I know many choreographers that I’ve auditioned for across the world have held my career in their hands and its exhilarating putting your talent on the line to see if you’re worthy enough for a place in the show.  It’s a great journey for the audience. 

Sam, what is it about A Chorus Line that you love the most?
What I love most about the show is that it is the story of my life! It tells the audience the story of every performer’s life! This is what we go through, for that thing we love most in our lives.  A Chorus Line lets us share this love and our story with the audience. Some of the characters in A Chorus Line have very deep and complex lives, but the one thing that keeps them going and keeps them together is their passion for performing. Such inspirational stories are told in the show, not only through words but also song and dance! That’s something special!

As a performer you sacrifice a lot. Has it been worth it Josh?
I’ve sacrificed so many aspects of what people call “normal life” to chase my career – birthdays, weddings, relationships.  You sacrifice a lot as a dancer,  and we spend more time preparing for a performance than actually being in the performance, but it’s something about that moment when you are dancing that is complete magic.  If you ask, “Was it worth it?” Absolutely!

Sam, what has been the most challenging aspect of your career thus far?
There are many challenges choosing theatre as your career path. It is sometimes a hard and tiring life for a performer. When we are not performing, we are usually working long and late hours doing other forms of work which are not very enjoyable. Staying motivated after audition knock backs is a huge challenge.  Sometimes it feels like all you are hearing is “no”, and it becomes difficult to pick yourself back up and remind yourself that at the end of all those “no’s” is a big rewarding “YES!” Impatience is also another challenge. I believe that everything happens for a reason, so when there is a show that’s right for me, it will happen, but it’s hard to remain patient while waiting for that right show to come along.

Josh, what has been the highlight of your career thus far? 
To be really honest, I find it really hard to pick one thing.  I look back at my career so far and love it all.  I’ve danced on Broadway and the West End, worked with wonderful creative people, whack in being a judge on a TV dance show and at the same time choreographed a Disneyland parade.  I’d like to think that A Chorus Line will be my new highlight… in fact it probably will be.

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.

Collaboration The Project is proud to present Immersed Melbourne Dance Industry Night 2011, this month. Immersed will be held at The National Theatre on Monday September 12 at 7:30pm.

Melbourne’s dance scene will amalgamate on one night, to immerse the entertainment industry with their peers and show what it is that makes their city hum!

Immersed will be the Melbourne dance industries premier night of entertainment with a host of established and up and coming choreographers showcasing their work. 

Immersed Performances include; choreography by Paul Malek and Collaboration The Project,  Team Rocket (Australia’s Got Talent), contemporary jazz company Vertical Shadows directed by Stephen Agisilaou (SYTYCD), International Choreographer Leroy Curwood, RickStix Productions headed by Adrian Ricks (Mr. Mistoffolees CATS), Australian hip hop champions Dance Virus Productions, hip hop crews Sole Symphony, The Collektive & all girl crew, Hollabak Dance Crew.

There will also be student performances by full time institutions Jason Coleman’s Ministry of Dance, Dance World Studios, Patrick Studios Australia, Youth dance Company Project Y and a myriad of other exciting acts.

For more information visit www.collaboration-project.com

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

Photo by Belinda Strodder

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