After the spooky mother-daughter passing of Debbie Reynolds and Carrie Fisher last week, the Internet is aglow with clips of one or the other or both. Focusing on one great scene, the “Good Morning” song from Singin’ in the Rain, one might assume that Reynolds was as experienced a dancer as the formidable Gene Kelly and Donald O’Connor.
But no. In 1951, when Debbie Reynolds was chosen to star with Gene Kelly in MGM’s Singin’ in the Rain, she was 19 and had almost no experience dancing or singing. Kelly, understandably, was furious. But Louis B. Mayer had made the decision and that was that.
Reynolds was given three months to “learn to dance.” Three teachers would alternate giving her private lessons. “I was dancing eight hours a day, nonstop,” she writes in her memoir, which is excerpted in Reading Dancing, the wonderful anthology edited by Robert Gottlieb. She was so frustrated that she threw her tap shoes at the mirror, shattering it. She would spend all her studio time holding back tears. And then…“One day I was lying under the piano sobbing when I heard a voice ask, ‘Why are you crying?’” She vented her frustration: “I feel like I’m going to die, it’s so hard. I can’t…I can’t…”
The voice gently calmed her down. She looked up and saw Fred Astaire, standing next to the piano, with concern on his face. He told her that he gets frustrated and upset too, and invited her to watch a rehearsal with Hermes Pan while they prepared for Royal Wedding. She saw how hard he worked and left the studio feeling less alone.
And of course, in the final movie, she miraculously keeps up with Kelly and O’Connor—and adds her own effervescence. Take a look at her in the happy-go-lucky “Good Morning” number. She’s quick, effortless and bubbling with joy and camaraderie.
"I don't cook for just one or two people," says James Whiteside, stirring a pot on his stove. "My mom taught me to cook and she had five kids. So when I do cook, I go in!"
Aside from breakfast (usually bacon, egg and cheese on an English muffin), the American Ballet Theatre principal rarely cooks for himself during ABT's seasons. He prefers to "forage" for his lunch and go out or order in for dinner, saving the real cooking for when he has friends or colleagues to feed. "I like to have a lot of people tell me my food is delicious," he quips.
We're not sure what we did to deserve the livestream generosity the dance world is giving us these days, but this weekend, it's getting even better.
PC Joe Toreno
L.A. Dance Project, Benjamin Milliepied's trendsetting contemporary troupe, has been in residence at The Chinati Foundation for the past few days. This weekend, they're showing us what they've come up with—for three days straight.
To create great work, choreographers need the freedom to tackle difficult subjects and push physical limits. But when your instruments are human beings, is there a limit to how far you should go? Five choreographers open up about where they draw the line.
Restaurants have always been a great source of survival gigs for dancers. But today's top chefs aren't just looking for waiters to carry dishes to the table. They're hiring choreographers to give the staff dance-like skills and compose a sort of choreography for the dining room.
Leslie Scott, artistic director of dance theater company BODYART, is one of those choreographers. After working in more typical food industry jobs for 10 years, she's been tapped by top restaurants in both New York City and Los Angeles to lead workshops that finesse servers' non-verbal communication and navigation of tight spaces.
Back in 2002, dancer and choreographer Jonah Bokaer founded an art space in Brooklyn called Chez Bushwick. As Manhattan and Brooklyn were quickly becoming unaffordable, and many studio spaces were closing, Bokaer seized upon "creative placemaking"—the idea that the arts can play an integral role in community-building—before it became a buzzword. "We have been sustaining and maintaining one of the most affordable dance studios in New York State since the very beginning of my career," he says.
Fifteen years later, the challenges for choreographers in expensive urban centers continue unabated, and Bokaer has found his original mission magnified. While Chez Bushwick remains a haven for the next generation, there is also a growing number of young dancemakers who have been inspired to create their own residencies, communities and, ultimately, opportunities.
The New York City premiere of Alexei Ratmansky's sugary sweet story ballet, Whipped Cream, made for one of the most exciting spring galas at American Ballet Theatre yet. While we're usually in awe of the gowns the dancers sport on the red carpet beforehand, this time around, it was all about Whipped Cream's colorful and over-the-top costumes by Mark Ryden—and, okay, a few major dress moments, too. Ahead, check out what went on behind-the-scenes.