PC Matthew Murphy

It's no secret that Broadway dancers need to be incredibly versatile. In addition to having singing and acting chops, they need to be well-versed in a wide range of dance styles.

Knowing all this is one thing. But seeing it in action is another. BroadwayBox.com's Dancing Through My Resume series asks Broadway dancers to give a visual demonstration of their career, performing segments from all the shows they've been in. The result is a fast-paced tour of some of the best dancing on Broadway, past and present. Their newest video features Paloma Garcia-Lee, who's currently dancing Joshua Bergasse's choreography in Charlie and the Chocolate Factory:

The fact that Garcia and the other dancers profiled in this series can literally do it all speaks to how challenging it is to be a Broadway performer today. But it also says something about the diversity of today's Broadway lineup, and the new ways that choreographers are using dance to tell stories.

Watch more of our favorites below, and click here to watch the whole series.

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Photo by Alyson Edie, Courtesy Elizabeth Earley

Elizabeth Earley's path to the Great White Way was fueled by perseverance. Currently a swing and co-dance captain for Hello, Dolly!, she shared her journey with Dance Magazine.

When I was a freshman at New York University's musical theater studio, I cut class to attend a singers' Equity Chorus Call for The Phantom of the Opera. I had no idea how casting worked. I hoped they might realize I was a ballet dancer and put me into consideration for a ballerina. After waiting in line for hours, I sang "Falling in Love with Love." The team asked, "Is this your first New York audition?" They said, "You are so cute," but there was no callback. Later, I saw the show was holding an open dance call. I went. The line wrapped around the block. We did two pointe combinations. But again, I was cut.

I decided to keep my focus on school instead of auditions with the exception of summer stock, which I worked every season. After graduating, I developed this idea that I wasn't ready to be seen by Broadway casting teams. I only auditioned for stock, theme parks, cruise ships, regional theater and national tours. I eventually booked them all. As I started to gain more experience, auditioning went from being overwhelming to exciting.

After returning from the national tour of Whistle Down the Wind, I started to actively pursue roles. In 2009, I was up for my first principal role in a regional union show, Cassie in A Chorus Line. Having worked nine shows at this particular theater as ensemble, dance captain, minor roles and understudy, I was thrilled to be in the running for a lead. I felt strong as I danced, sang and read. Then someone on the casting team said, "She's not hot enough."

I realized I couldn't control what other people felt, but I could control my mind-set. Keeping positive and being my daily best became vital in moments like that. I actually did end up booking Cassie in that production. I even went on to play her elsewhere and returned to the same theater to play Mary Poppins years down the road.

Earley as Cassie in a regional production of A Chorus Line. Photo by Alicia Donelan, Courtesy Earley

While I auditioned for Broadway regularly starting in 2008, I landed national tours for years. In 2015, I decided to dig my heels into the ground in New York City. That year, I attended an invited call to hire one female swing to cover the miscellaneous dance and singing tracks in a brand-new show. I almost didn't go. I was so tired of pounding the pavement without making headway. On the day of the audition, I saw Eric Giancola, to whom I had taught Mary Poppins on the national tour when I was dance captain. He was leading the audition! He knew my work and work ethic. After passing the test with Phil Reno, the show's musical director, and after approval of the director, I booked a job as swing in the original cast of Something Rotten! I finally cracked the glass ceiling of Broadway. All of the training and relentless work helped make it happen.

After a year in Something Rotten!, I auditioned for Hello, Dolly! by attending the dancers' Equity Chorus Call. I danced and sang the first day after the team made a cut. I was called back to audition with the girls from the agent invited audition. More cuts were made as we danced, two by two. I had to dance with Jessica Lee Goldyn, who played Val in the Broadway revival of A Chorus Line. She is a terrific dancer! Years of auditioning taught me not to get nervous, but to get excited, saying "I get to dance with Jessica!" More days of auditions happened where we danced, sang, read for roles and partnered. I sang a song from Kismet. I was asked to sing and read for the character of Irene. I ended up booking swing/co-dance captain, and am very excited for my next Broadway experience. Though the road has been winding, I've learned not to compare my journey to others'. One of the most wonderful things about theater is that everyone takes their own unique path there. But in the end, we all share the same stage.

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Mena Burnette of xmbphotography, courtesy Okpokwasili

It seems like everyone in New York's experimental dance scene is talking about Okwui Okpokwasili right now. Her multidisciplinary work Poor People's TV Room is in the middle of a much buzzed-about two-week run at New York Live Arts.

But although the dance world loves her, Okpokwasili is hesitant to call herself a dancer. In a story about dance theater in Dance Magazine's May issue, she told this to writer Siobhan Burke:

"I have a deep love and appreciation for dancers. And because of that, sometimes I'll call myself a mover, because I feel like dancers are saints. They work so hard, they take classes, they don't get health insurance. Their ability to come into the unknown and commit to multiple languages without question—I find it so generous and beautiful. I don't know that I'm that generous. People can't just walk around calling themselves a dancer."

Even though she's very humble, many would definitely consider what she's doing bonafide dancing. Check out her intense, otherwordly virtuosity in a section from Poor People's TV Room, shot for The New York Times' #SpeakingInDance series.

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Sarah Lamb and Steven McRae in "Rubies." Photo by Alastair Muir

This year marks the 50th anniversary of George Balanchine's iconic Jewels. And thanks to The Royal Ballet, you can celebrate in the comfort of your local movie theater. The company is screening its production in theaters across the US this spring—along with a handful of other performances both live and recorded.

Of course, we couldn't wait. So we got an exclusive sneak preview of principal dancers Marianela Nuñez and Thiago Soares performing the regal "Diamonds" pas de deux:

Plus, we're giving away a pair of pointe shoes signed by principal dancer Sarah Lamb—the very pair she wore during this performance of "Rubies." Watch her tackle the playful role alongside Steven McRae and Melissa Hamilton:

Click here to find a theater in your area.

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Michaela DePrince is having one spectacular year. On New Year's Day, the Dutch National Ballet dancer was promoted to soloist. And yesterday, she scored a major endorsement as a face of Jockey's "Show 'Em What's Underneath" campaign. We've said it before: There's a right way and a wrong way to feature dancers in mainstream media. This campaign hits the mark by celebrating DePrince's grace, athleticism and story of hope.

If you need a refresher on her remarkable journey—from war orphan in Sierra Leone to being adopted and launching her ballet career—check out Jockey's video below.

DePrince's path has an uncanny connection to Dance Magazine. As a young child, she found the May 1979 cover of DM outside her orphanage. Mesmerized by the image of Pennsylvania Ballet's Magali Messac, she kept the treasured cover hidden in her panties, dreaming of becoming a dancer herself. After she was adopted, DePrince began training at The Rock School for Dance Education in Philadelphia. The rest is history.

Congratulations to DePrince on this milestone in her career!

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Matthew Karas

The Metropolitan Museum of Art has been seriously getting into dance lately. But now it's taking its love affair one step further: Gallim Dance director/choreographer Andrea Miller was just named the museum's artist in residence for the 2017-18 season—the first dance artist ever chosen for that distinction!

We caught up with Miller to find out exactly what this means.

Gallim Dance at the Temple of Dendur. Photo by Ani Coller, courtesy Metropolitan Museum of Art

Congratulations on being named artist in residence! How did this come about?

I was offered an opportunity to create a work in progress for a private event at the Temple of Dendur last September. It was a really great experience. I was learning about ancient Egyptian dance and art and music. I got to meet archaeologists and work with the curators and the Met Live Arts team. I think they thought it might be a relationship to develop with a residency.

What did you like about working at the Met?

For a while now I've been enjoying working outside of the proscenium theater. The conversations and the restrictions are different. What you can do, what you can't do. Having new set of variables intrigues me—it pushes my craft further.

What does it mean to you to be the first dance person named artist in residence at the Met?

Dance hasn't always been welcomed into these homes for art, but it makes a lot of sense for a museum to be thinking about dance as art. I'm so happy to be running with my ideas in these halls. They are really open about working with me and thinking really closely with me about what could be possible and letting me direct quite a bit what I'd like to do there.

And what do you plan to do?

First, I'm going to build the Temple of Dendur piece into an evening-length work, to premiere in October. That's called Stone Skipping. It has some scenes about the environment and climate change, thinking about the journey of the temple from the Nile to the museum.

The next piece is going to happen during museum hours, a durational work throughout the day. It's very exciting to me because it's going to completely break with the start-and-stop, beginning-and-end setup of most traditional dance.

One of the things I'm trying to do is think about what is "Met-only" about these works. How am I engaging with the Met and its permanent collections and its architecture, making work that is housed in that space?

But the third work will be treating the dance as its own art. Taking art off the walls, into the gallery space, observing dance in a similar way you do with visual art.

We'll also have open rehearsals and workshops.

What do you think this residency will mean for your company?

I definitely hope that there will be a definitive time before the Met, and after the Met. The imprint of this experience is going to be inextricable from my future creative language and process.

How do you see your aesthetic meshing with the museum's very formal, reverential atmosphere?

I think some of it is gonna fly and some of it is gonna be difficult, and maybe a little controversial. I imagine a lot of it will have to do with the curators of the areas I'm working in, and how they see other elements defining the existing art, and how they interact with each other. My aesthetic is very raw and can sometimes feel wild; there's a sense of abandonment. That's very different from how a lot of art is experienced at the Met. Even if the content has that same level of fierce rawness or extreme expression, that only stays within the canvas—everything else is super controlled. We're taking that out into the space.

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Courtesy David Keener

Elaine Thomas, former dancer with The Royal Ballet, passed away on March 9 in Nashville, Tennessee, after a long illness. She was 80 years old. Thomas entered Sadler's Wells Ballet School in autumn of 1952 and joined the Sadler's Wells Theatre Ballet (Royal Ballet Covent Garden) on August 30, 1954. While with the company, Thomas was cast in over 265 performances and danced roles by many prominent choreographers including Ashton, MacMillan, Howard and many others.

She came to the United States at the invitation of John Hart in the 70s and assisted in the development of the United States International University Dance Department in San Diego, California. Thomas was a ballet mistress with Pennsylvania Ballet under Benjamin Harkarvy and subsequently joined the artistic staff at Ballet West, again with John Hart. Thomas was a prominent artistic visionary for several years while with Nashville Ballet, and continued to stage full-length ballets throughout the U.S.

She was a dedicated professional with unwavering passion for the art of dance and an equal amount of determination to give of herself in support of others. We miss her and will keep her in our hearts and memories. There will be a memorial celebration in Elaine Thomas' honor on May 20 in Nashville.

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Donnell Oakley, Cori Marquis, Kyle Marshall in "O, round desire"

After a program of Doug Elkins' works last Saturday, I moderated a post-performance talk with him. This was part of the high-powered Peak Performances series at Montclair State University in New Jersey, in which Doug premiered a film and a new dance and reprised his popular Mo(or)town/Redux. Students from MSU as well as Rutgers, where Doug teaches, were in the new piece, O, round desire.

Doug is a wild one to interview because his mind races all over the place. But he's also terrifically entertaining, so I had the feeling the audience was hanging on his every word—and every impromptu sound effect. Here are a few of his scintillating remarks, lacking exactness due to the fallibility of my memory:

• "Abstract and narrative are not opposites for me. They are on a continuum. It's like a Venn diagram, where you can see the overlap."

• "I swim in many oceans, and I sample from each one."

• "I don't have one train of thought; I have a whole squadron of planes of thought."

Kyle Marshall, Donnell Oakley, Elias Rosa and Cori Marquis in "Mo(or)town/Redux," all dance photos by Marina Levitskaya

• "I am in conversation with every dancer in the room. I work with their corporeal history."

• "When a child steps out of the bathtub and hears a party going on downstairs and he goes there naked to grab a potato chip, he's not being provocative. He's just doing what his senses tell him to do."

Elkins, photo by Christopher Duggan

After the talk, Doug emailed me with two more bits of explanation:

• "I often find myself oscillating or vibrating between causal logic and emotional association. For me, the place where they meet is in movement, in dance. It's why I've always loved Trisha Brown's description of herself as 'a bricklayer with a sense of humor.' "

• "Stories are irrevocably affected by the fallibility of the human mind, its limited perspective, distorted perceptions and the decaying of remembering. I can only offer glimpses of moments of things and let you, the viewer, connect it, causally or otherwise, as you see fit."

Doug also made a sort of confession about his new piece, O, round desire: "That's me as a B-boy having a crush on Trisha Brown."

For more Dougisms, watch his "Choreography in Focus":

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