10 Minutes With Mia Michaels
The contemporary queen is taking on the most famous kickline in the world.
Michaels working with the Rockettes. Photo by Rebecca Taylor, Courtesy MSG Photos.
When you’ve launched your own company, become a three-time Emmy Award winner from your work on “So You Think You Can Dance” and choreographed a hit Broadway musical, what would you pursue next? Most people would think “A vacation.” But this summer, Mia Michaels will make her directorial debut as the director and choreographer of the New York Spectacular starring the Radio City Rockettes, a revamped version of last year’s New York Spring Spectacular.The show runs June 15–August 7 at Radio City Music Hall.
You choreographed the opening number of the Spring Spectacular. Now you’re running the whole show.
I’m getting my first official director credit—it’s really exciting! I’ve wanted to direct for a long time, and it’s happening. This show is huge. It’s a beast. But that’s perfect for me. I don’t start small, apparently.
What is your vision for this show?
The Rockettes have been around for more than 85 years and now they’re putting themselves into my hands. That’s golden. We’re creating this spectacle and making beautiful eye candy for the viewers. There will absolutely still be kicklines—that will never go away! But I’m excited to breathe fresh energy into it. My goal is to bring a Mia vocabulary into the Rockette world, and really marry the two. When a brand is this iconic, you don’t want to change it—it’s iconic for a reason. I’m protecting this little nugget while playing around with all the gravy that surrounds it.
What is the new story about?
It’s a magical journey through New York City, told through the eyes of a child, so it brings that fantastical quality of what New York can be. There’s a lot of dance, a lot of leg and a lot of original music. I’m bringing on a group of male ensemble dancers, so that’s a big change. The movement is all over the map, from the classic Rockette rep to more contemporary flavors. Not only do the dancers have to do Rockette material, they also have to do the physical and technical Mia work.
What are some of the challenges you’re facing as a director?
It’s so different from just choreographing because you have your eye on every team and every department. You’re looking at everything from the colors to the lights to the videos to the music. As a choreographer, you’re in your own pocket. As a director, you’re in every pocket.
Do you have any other projects in the works?
I wrote a book—an instructional inspirational memoir, if that makes any sense—called A Unicorn in a World of Donkeys. Everyone is always trying to look the same, be the same. This is about challenging yourself to stand out and celebrate it. It has a lot of stories from my life and career, but it’s not just for dancers. I’m also working on “Mia Michaels Live,” which is an online mentorship program for artists, dancers, choreographers and teachers. As I get older, I realize how much I needed a mentor when I was younger. Now it’s my turn to be a mentor—to be Mama Mia.
Any chance we’ll be seeing you on this season of “So You Think You Can Dance”?
Oh, I don’t know! I have no idea! But never say never. That brand is a big part of my life, so if Nigel [Lythgoe] wanted me to come back, I would definitely do it if the time was right.
Last night, American Ballet Theatre held its annual Fall Gala at the David H. Koch Theater in New York City. To celebrate ABT's artistic director Kevin McKenzie's 25 years of leadership, dancers from ABT's company, apprentices, studio company members and students from the Jaqueline Kennedy Onassis School took to the stage in Jessica Lang's The Gift, Alexei Ratmansky's Songs of Bukovina and Christopher Wheeldon's Thirteen Diversions.
But we also love a good behind-the-scenes glimpse—especially when designer gowns are involved. And the dancers gave us plenty of glam looks to obsess over once the curtains closed. Ahead, see our favorite moments from gala straight from the dancers.
Devon Teuscher in the floral print suit of our dreams (by designer Patricia Bonaldi) practices her dance moves with Christine Shevchenko. Both girls accessorized with sparkling jewels from gala sponsor de Grisogono.
The dancers file into an audition room. They are given a number and asked to wait for registration to finish before the audition starts. At the end of the room, behind a table and a computer (and probably a number of mobile devices), there I sit, doing audio tests and updating the audition schedule as the room fills up with candidates. The dancers, more nervous than they need to be, see me, typing, perhaps teasing my colleagues, almost certainly with a coffee cup at my side.
Last week Ballet West breezed into New York City's Joyce Theater from Salt Lake City. The dancers are excellent—especially the women (what else is new). The company brought five pieces including works by Gerald Arpino, Val Caniparoli and resident choreographer Nicolo Fonte.
Arpino's last work, made in 2004, is a duet called RUTH, Ricordi per Due ("remembrance for two"). It's about a man haunted by the memory of the woman he loved. Christopher Ruud is strong and sensitive as the man, and Arolyn Williams is riveting as the ghost of his beloved.
Val Caniparoli energizes his dancers with juicy movement, and always sticks to his theme. (He doesn't ramble, and let's face it, long rambling choreography is a problem these days.) In his premiere for Ballet West, Dances for Lou, he takes on the music of Lou Harrison, a composer known for his Eastern sounds and rhythms.
Photo by Filip VanRoe, courtesy Marquee
Your Saturday nights are about to go from "Netflix and chill" to "Marquee and chill." (Okay, maybe we'll need to coin a new phrase).
But seriously, the new streaming app Marquee Arts TV lets you curl up with Bolshoi Ballet's Swan Lake, Sylvie Guillem dancing Mats Ek's solo Bye, a dance film by Cullberg Ballet called 40 M Under, or a documentary about Alonzo King and LINES Ballet. Marquee unlocks a world of digital arts: dance, theater, opera, music, documentaries and film shorts that you can stream directly to your TV or mobile device.
When Simone Forti moved from California to New York City in 1960, she brought with her the improvisational approach of Anna Halprin. As one of the first five students in Robert Dunn's John Cage–inspired composition course (that led to Judson Dance Theater), she was a magnet for two others in that class: Yvonne Rainer and Steve Paxton. This month the three reunite for Tea for Three, an evening of moving and talking at Danspace Project, Oct. 26–28. It's a chance to see how dance mavericks grow and change and mellow. Forti will also give "Body Mind World" workshops Oct. 19–20. danspaceproject.org.
When you're dancing for what feels like eight days a week, it takes more than just stretching to put your body back in order. You need a good rub down. Unfortunately, most of us don't exactly have the money to afford an on-call personal masseuse.
The solution: Self-massage, with foam rollers, lacrosse balls, elbows and anything else that can help loosen up your muscles. We dug into Dance Magazine's archives to find the best pieces of advice we've published on the topic. Follow these rules to get what you, ahem, knead out of self-massage.
This week American Ballet Theatre launches its fall season at Lincoln Center with an exciting lineup of performances. One last-minute addition to the program is a new work from Benjamin Millepied, which will be performed by ABT Studio Company and Jacqueline Kennedy Onassis School dancers in the theater's promenade during select intermissions. Although the specifics of the performance are hush hush, we stepped into the studio with Millepied for an inside look.
What has it been like to choreograph on younger dancers and how, if at all, did you change your approach?
To be honest, they're really good. Rhythmically, it's not easy at all and they've done incredibly well. The piece could be longer. It's really one movement but, for the first time, to use that space it felt right. Nothing says I couldn't add two more movements next season to make it longer.
What are your thoughts on bringing classical ballet outside the proscenium setting?
For me, it's great to think of spaces theatrically. We build sets with lighting and props, but there are also all these environments that are beautiful and theatrical, and with a little bit of work you can create something within them and that becomes site-specific. That's really fun because you create something really specific for the environment.
What would you like to see more of from young ballet dancers?
What I would want to see more of in ballet is just more interesting collaborations. These ballet dancers are great and they're ready and what they need is more interesting work. I feel people are playing it safe a lot. If anything, I think it's the choreographers and the directors who need to make an effort for these dancers who have made this art form their passion, and to really be as daring or at least as relevant as some of our peers were when they were commissioning pieces a long time ago.
For many victims of recent natural disasters like Hurricane Harvey and Hurricane Maria, the new "normal" involves power outages, food shortages and massive property damage. The dance community has stepped up to help by doing what they do best: This Sunday, October 22, members from major American companies will perform in two separate concerts in New York City, benefitting those affected by the hurricanes in Texas and Puerto Rico.