The "So You Think You Can Dance" choreographer transitions to Broadway.
Mia Michaels. Photo by Jim Lafferty.
The rehearsal room throbs with an upbeat, unmistakable mix of high good humor and careful rigor, as Mia Michaels runs a few numbers from Finding Neverland. The show, based on the 2004 film about J.M. Barrie and the children who inspired Peter Pan, represents a departure for Michaels, who’s perhaps the most famous choreographer never to have choreographed a Broadway musical.
Above: Laura Michelle Kelly and J.M. Barrie understudy Kevin Kern lead the cast. Photo by Jim Lafferty.
“It’s the hardest thing I’ve ever done,” she says, “because of the hours, the amount of time it takes to do an original musical.” The clock started ticking two years ago, at Diane Paulus’ American Repertory Theater, which presented the world premiere last summer in Cambridge, Massachusetts. And doing Neverland, Michaels says, has changed her profoundly. Still, wearing black leggings and a roomy black cardigan, on her feet tweaking a lift or demonstrating a precise arm position, she’s the familiar, in-charge choreographer who spent nine years on “So You Think You Can Dance.” “Push the clarity,” she tells the cast when they all reach upwards in a stylized tableau. Later, she’s urging them to “really take up space,” spreading her arms and veering about “like when you’re a kid and you’re flying around like an airplane.”
Right: Sawyer Nunes and Aidan Gemme. Photo by Jim Lafferty.
Everyone seems to be having fun, and it’s not just because the number portrays a rambunctious romp in the park, or because the bouncy song by British popsters Gary Barlow and Eliot Kennedy is matched by Michaels’ bouncy movement. “We are a family,” she says, “and it is the most amazing feeling.” It’s a theme she returns to again and again, this joy she’s found in her Neverland collaboration. Throughout her career—which includes not just “SYTYCD” but concert tours, dance companies (one of them, RAW, her own) and a sprinkling of musical theater—she’s been a solo act. “I’ve always isolated myself and been on my own journey, just doing my art, my craft,” she notes. “And now, all of a sudden, I have this amazing, creative, warm family with arms open. It’s changed my life.”
A key member of that family is Paulus, the Tony-winning director. “There’s a lot of female energy in there,” Michaels notes. “I’ve worked with many male directors through film and television, and they’ve always kind of let me do my own thing. With Diane, there’s an intimacy in our process, where everyone’s hands-on. Probably it’s because, being women, we’re very passionate about every single moment and we nurture the moment. Especially her being a mom, she knows how to nurture the creative process and really pull it from people. Gestation. Gestation.” And working with the child actors in the cast has “softened” Michaels, allowing her a new kind of connection.
Left: Kern with Colin Cunliffe. Photo by Jim Lafferty.
“Having a female director was key to tapping into the emotional and the intimate moments of this piece,” she adds. Regular viewers of “SYTYCD” know such moments abound in Michaels’ choreography. “The show taught me that I was a storyteller,” she says. But how will her totally contemporary idiom work in Neverland’s Edwardian England? “The score is pop,” she replies. “So you’ve already crossed that line. It’s not a museum piece.” She adds that because her movement has always “come from a classical space, it works in this time period.”
Nor is she thrown by the absence of the camera to underline or camouflage specific moves. “I came from the stage first,” she explains. “And I always created for the viewers in the studio. Then I would adapt the camera to the piece.” Grateful as she is to “SYTYCD” (“If it wasn’t for that show I wouldn’t be here today,” she acknowledges), “I was so ready to be back on the stage. Live theater, live performance—it’s real, it’s honest, and what you get is what you get.”
Right: Fred Ogdaard and Jaime Verazin. Photo by Jim Lafferty.
Dance captains: Jaime Verazin, a former MOMIX dancer making her Broadway debut, and an assistant, Julius Anthony Rubio, who made his debut in 2011 in Wonderland. Both joined Neverland after auditioning for swing jobs.
Assistants: Verazin also serves in this capacity, along with Kevin Wilson, a Los Angeles–based dancer-choreographer.
Dance ensemble: “There are seven dancers, the rest are actor-movers. But, believe me, they’re dancing,” says Michaels. “Actors—my god, they have so much to bring to the table. It’s like this big library of knowledge and creativity and humor, and it just opened up my eyes as a choreographer.”
Pre-show warm-up: “When we start we have a full circle. A moment where we all connect and we really hold hands and we look at every single person in the eyes,” says Michaels. “In our own quiet way, we go through the journey that we’ve had together. It’s the most amazing spiritual energy and connection.”
Above: Jonathan Ritter and Emma Pfaeffle. Below: Jonathan Ritter and Cast. Photos by Jim Lafferty.
Showing choreography at a major venue in New York City is a goal and milestone for many dance artists. Yet when such an opportunity comes their way, choreographers frequently find themselves scrambling for time and technical resources to give their work that professional shine. What they end up performing may not have the polish they intended. "Far too often artists are arriving at their presenting house and the piece isn't ready," says Adrienne Willis, the executive and artistic director of Lumberyard Contemporary Performing Arts, an organization that helps dance artists develop new work.
Back when Lumberyard was known as the American Dance Institute and operated out of a strip mall in Rockville, Maryland, it pioneered its Incubator program to whip new pieces into shape, kind of like the "out-of-town" tryout model for theater. Several of the artists it supported ultimately brought their shows to the Brooklyn Academy of Music, one of New York City's most prestigious venues, which quickly recognized the positive influence of the Incubator on performances.
Since Thanksgiving is finally here, it's officially time to talk Nutcracker. With countless productions taking place between now and Christmas (and even some through the new year), we've been keeping tabs on Instagram to check in on rehearsals. Whether you're obsessed with all things Sugar Plum Fairy or the snow scene is more your speed, we've got your first look at the holiday classic.
We have a feeling even the Boston Ballet dancing bear couldn't keep up with second soloist Lawrence Rines' tricks in Russian.
For the past 3 years, choreographer Stephen Petronio has been reviving groundbreaking works of postmodern dance through his BLOODLINES project. This season, although his company will be performing a work by Merce Cunningham, his own choreography moves in a more luxurious direction. We stepped into the studio with Petronio and his dancers where they were busy creating a new work, Hardness 10, named for the categorization of diamonds.
'Tis the season to have some fun in the kitchen. If you want to get more creative than simply baking another pumpkin pie, try these Nutcracker-themed treats—created by and for dancers. These recipes from former Boston Ballet and Joffrey Ballet dancers were first published in Dance Magazine's December 1990 issue. Today, they're still guaranteed to turn any holiday party or dressing room into a true Land of the Sweets.
We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.
But it turns out that might not actually be how stretching works.
A new review published in the Scandinavian Journal of Science & Medicine in Sports suggests that increased flexibility actually comes from your brain growing more used to the tension.
Everyone knows that training is the cornerstone of a successful career in dance. But as a dance educator, I also take comfort in the fact that high-quality dance training helps shape students into genuinely good people (in addition to creating future artists, which is a wonderful goal in itself.) These are the lessons dance teaches that help make students into better humans:
Improvement Takes Commitment Over Time
In my tap courses at Cal State University, sometimes students are shocked when they can't learn something quickly. In today's world, we're used to getting fast results. You need an answer—Google it. You need to talk to someone—text them. The cooking channel wants your dinner to be easy, the physical trainer wants your workout to be five minutes, Rosetta Stone can have you speaking Mandarin in an hour.
It's no secret that affording college is a challenge for many students. And for dancers, there are added complications, like the relative lack of merit scholarships that take artistic talent into consideration and the improbability of a stable salary to pay off loans post-graduation. But no matter your budget, a smart approach to the application process can help you focus less on money and more on your training.
According to Drexel University performing arts department head Miriam Giguere, figuring out the kind of financial assistance a school offers is just as important as navigating what kind of dance program you want. Here's how to incorporate finances into your decision-making process:
When dancers get injured, they often think they should eat less. The thought process goes something like, Since I'm not able to move as much as I usually do, I'm not burning enough calories to justify the portions I'm used to.
But the truth is, scaling back your meals could actually be detrimental to your healing process.
With her fearless demeanor onstage, it's easy to see how Washington Ballet apprentice Sarah Steele attracted the keen eye of former American Ballet Theatre stars Julie Kent and Ethan Stiefel. Promoted mid-season from the studio company by artistic director Kent, Steele was cast by Stiefel as the lead in Frontier, his world premiere for The Washington Ballet, this past spring. For the space-themed piece, Steele donned a black-and-white "space suit" onstage, exhibiting dual qualities of strength and grace. Most evocative about Steele's dancing might be her innate intelligence—she was accepted to Harvard on early admission, and plans to resume her studies there in the future. But first, she'll dance.
Lots of college groups do stepping—a form of body percussion based on slapping, tapping and stomping—but Step Afrika! is the first professional dance company to do it. They are currently at New York City's New Victory Theater, presenting The Migration: Reflections on Jacob Lawrence, a show based on the painting series by Harlem Renaissance artist Jacob Lawrence about The Great Migration of the 1900s, when millions of African Americans fled the Jim Crow South and traveled by train to the North for a better life. The Great Migration transformed the demographics of the country, and Jacob Lawrence's paintings became famous for their bold color and evocative power.