Do The Hustle: What it Takes to Juggle Multiple Dance Jobs
Having just returned to New York City after a couple weeks of guesting in Southeast Asia, American Ballet Theatre principal Daniil Simkin is in rehearsal for the lead role in Alexei Ratmansky's latest creation, Whipped Cream. In between this brief rehearsal period and ABT's Metropolitan Opera House season, Simkin will be using any days off to travel for other guest performances. That is, when he's not in production meetings or rehearsing in Chicago or New York for his own project premiering at the Guggenheim in the fall, or preparing his debut as Albrecht in Giselle for an ABT tour.
"If I have an hour break between rehearsals, I try to get my work done for the day," says Simkin. "There are emails, meetings, fundraising, a lot of administration stuff with the Guggenheim project, delegating, checking in—'Will Dior do the costumes?'—and then I might get a guesting invitation and then I have to check my schedule, book flights and hotels."
Daniil Simkin's Intensio project. Photo by Jim Lafferty
Multitasking has become the new normal in the concert dance world. Many dancers, not just international stars like Simkin and Misty Copeland, are adding freelance careers on top of their regular company commitments. It seems like most artistic staffs have come to accept and even embrace this type of branching out, citing artistic growth for the dancers and marketing benefits for the company as their dancers grow more visible.
But the question remains: How much can one dancer juggle while maintaining both health and sanity—and still satisfying their commitments as a company dancer?
Dancers didn't always operate this way. "There was a different culture when George Balanchine was alive," says former New York City Ballet soloist and BalletMet artistic director Edwaard Liang. "People were extremely focused on their main job and work with Mr. B and Jerome Robbins." Even though big stars were able to guest, there weren't many opportunities for rank-and-file company dancers.
Los Angeles Ballet's Zachary Guthier and Smuin Ballet's Erica Felsch at National Choreographers Initiative. Photo by Dave Friedman.
Today, there are more guestings, galas, pickup troupes and other side jobs available all over the country and abroad. And the thinking inside many companies has evolved to encourage this outreach.
"This career goes so quickly; as much experience as you can get is good," says Liang, who took leave from NYCB to do Fosse on Broadway and dance with Nederlands Dans Theater during his own career. Today, he tries to hook up his dancers with outside projects, like the National Choreographers Initiative, whenever he can. "When they come back they are richer, deeper, more creative, even more engaged in the company."
Anthony Randazzo, ballet master at Boston Ballet, where several dancers like Lia Cirio participate in and manage side projects, agrees. "It is a chance to grow," he says, "and that helps strengthen the company, which is a win for everyone." He admits that there are challenges when a dancer asks for a day off during the season, but is quick to point out that if it can be accommodated, the benefits of the opportunity usually outweigh the extra work required to manage scheduling and rehearsal flow.
For some dancers, performing outside work just makes financial sense. Since few contracts are year-round, summer and side projects can keep up their technique as well as cushion their bank accounts.
But physical therapists warn that taking on too many projects can come at the expense of rest. Dancers have to be careful not to overwhelm their bodies if they already have a demanding rehearsal, performance and touring schedule. However, Simkin feels that the variety of styles his guestings generate has actually kept him healthier and less prone to injury.
Not all dancers go after this extra work. For instance, New York City Ballet principal Sterling Hyltin turns down such offers during the season in order to help preserve her work-life balance. "I can't physically do any more," she says. "I have had seasons where on Mondays I would be doing a photo shoot, or once I flew off to Russia for a weekend gala, but then I wound up without a day off. Some people can operate that way, but it hasn't been good for my body or my mind."
Instead, Hyltin finds ways to further her artistic growth and recharge herself by doing things besides dance—reading, going to museums and walking her dog. While she understands that other dancers in the company find fulfillment in performing on Broadway and elsewhere, she feels completely nourished by the opportunities she already has at NYCB.
Sterling Hyltin, photo by Paul Kolnik, courtesy NYCB.
Making the most of these career choices comes down to defining what success means to you. "Different dancers have different visions of success, whether it be galas and medals versus being a part of a company, or simply doing fashion photo shoots in their spare time," says Randazzo. "The trick is to find what might have a deeper meaning for you."
"There were absolutely times I felt left out when I was younger, when I felt like it was a form of competition: how many galas, how many modeling gigs you have," says Hyltin. "You can really get down on yourself, but you have to find a certain amount of healthy exposure. Decide what works for you. If you spread too thin, all your work can become less meaningful."
Luckily for Simkin, his workaholic schedule seems to suit his personality. "I get to do what I love, I get to travel and live a good life," he says. "You can always be too tired and feel like you are juggling too much, but our careers are too short, so I enjoy spreading myself out." However, now that he is scheduled for the next two years, Simkin admits that he's added something new to his to-do list: downtime.
Have you ever seen a performance and thought, "Wow, this was so good. Dance Magazine should really be writing about this!"? You're in luck.
We're collecting nominations for our annual Readers' Choice feature, and we need your help! We'll compile our favorite nominations, and then you'll vote on what should make it into our December issue. But for now, we want to hear about the most memorable dance you've seen so far in 2017.
Throughout the summer, we've been noticing beachside views and scenic waterfalls sprinkled in with all of the usual rehearsal and performance posts we see from ballet's biggest stars. But even while enjoying some sun and relaxation, dancers like Sara Mearns and Michaela DePrince prove that they never really take a break from ballet. Ahead, check out some of the cutest vacay pictures and videos our favorite dancers have been sharing this summer. Not only will they give you some future vacation inspo, they'll also have you itching to get back in the studio.
This fall, the University of Utah's School of Dance welcomes the first class of candidates to its newly reinstated Master of Fine Arts in Ballet program, currently the only ballet-specific MFA in the country. Geared toward those with professional ballet experience, it requires courses in pedagogy, choreography and scholarly inquiry. Melonie Murray, the director of graduate studies, says, "We want to support students in understanding ballet in a deeper way."
The 2017–18 Broadway season is just getting underway! But before we look ahead to new productions, let's recall what came before. Here are a few of the sparkliest shows that opened on the Great White Way in previous Augusts.
42nd Street (1980)
The cast of the 2001 revival of 42nd Street performing at the Tony Awards
If you need an example of traditional Broadway-style tap, this couldn't be any closer. The original production of 42nd Street ran for over eight years. That's a lot of time steps.
When I saw Kele Roberson dancing at New York City Dance Alliance Foundation's college scholarship audition, I only had to watch a deep plié before writing down a 10 out of 10 on his score sheet and scribbling a giant star next to his name. Before he even had a chance to show off his incredible lines, I was mesmerized by his nuanced grace in even the simplest of movements.
He walked away from that audition with NYCDA Foundation's Dance Magazine College Scholarship worth $25,000 to the college of his choice, which happened to be Juilliard, where he was planning to attend this fall.
But shortly after winning, it turns out, his plans changed. I caught up with him earlier today to find out what happened.
Yep, you read that right.
Alpaca dance classes are a thing, thanks to 313 Farms in Manitoba, Canada. Students can take classes like "Barn Barre," "Mommy, The Alpacas, & Me" and "Poppin' Pacas" while the animals roam—and you're welcome to stop and pet them mid-class.
"Having worked in a dance studio, I had quite a few students visit the alpacas and they loved being around them," says owner Ann Patman. "Most studios have no windows and even though the class might be great, you don't get any fresh air or see what's going on outside."
Nominations for our Readers' Choice Awards are underway, and you've been sending in tons of exciting ones.
As a reminder, we're compiling nominations in seven categories:
- Best Viral Video
- Most Moving Performance
- Biggest Choreographic Breakthrough
- Coolest Collaboration
- Best Dance Documentary
- Most Inventive New Work
- Funniest Performance
We'll choose our favorites, then ask you to vote on what will make it into our December issue.
Here are some of our favs so far: