What gets 20-somethings to dance performances? It's the million-dollar question on the minds of presenters, directors, dancers—basically anyone who has a stake in the future of our field.
Schoen Movement Company dancers at Brooklyn Brewery. PC Mary John Frank.
One possible answer? Turn your performance into a party.
Last week I went to a show at the Brooklyn Brewery put on by Keigwin + Company dancer Emily Schoen, who runs her own small troupe, Schoen Movement Company. For the price of a ticket, you also got a free beer and a free dance class the next day taught by the choreographers themselves.
Sure, lots of dance companies produce site-specific work. And others offer free beer after the show or during intermission. But here, the audience—almost entirely made up of millennials—sipped their drinks and ate food from a pop-up BBQ stand (yes, this is Brooklyn) as they followed the dancers around the space, kind of like an immersive show, but more informal. "Drink breaks" were built into the program. And, keeping costs down, instead of a paper program, you could look up info about the show on Schoen Movement Company's Instagram feed.
"Everyone's going to go out to eat and drink," Schoen said later, explaining her thinking. "This introduces people to dance in a less threatening way than asking them to sit in a theater."
She initially got the idea when she heard that tours for the kind of contemporary work she loves were decreasing. So she approached her go-to neighborhood hangout, Rockaway Brewery, and put together a program in their space featuring her company and a couple others (B.S. Movement and LoudHoundMovement). The event was so successful that when the nearby Brooklyn Brewery found out about it, they asked her to repeat it there, too.
The choreography took advantage of the brewery's space, including wooden barrels. PC Mary John Frank.
Schoen says both brewery shows turned a profit. The second nearly sold out, with about 34 percent of people buying general admission tickets (dancers could opt for an artist discount), which means a good chunk of the audience came from outside the dance world. And, judging by the amount of Snapchatting going on, they were very enthusiastic. The show created an "event"—something new to experience and immediately brag about on social media.
It was a true Brooklyn party, just with better dancing.
It's not often that a dance video provokes bona fide cackling in our office, but this new episode of BroadwayWorld TV's improv-based series "Turning the Tables" is just too real. For this episode, seven Broadway pros were invited to a mock dance call. With series regulars Ellyn Marie Marsh, Andrew Briedis, Andrew Chappelle and Julia Mattison running the "audition," disaster and hilarity (mostly hilarity) ensue.
First of all, it's amazing to see Broadway dancers like Neil Haskell, Eloise Kropp and Samantha Sturm try to keep straight faces with the amount of deadpan shenanigans happening at the front of the room. And if you've ever been to a Broadway dance call, you're going to be struck by just how on point the jokes are. Plus, it's just really, really funny.
Watch now. Thank us later.
"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.