On the Rise: Chalvar Monteiro
Chalvar Monteiro saw his first Alvin Ailey American Dance Theater performance at 12 and was smitten. Today, at 28, he's a lithe, elegantly understated member of the company. But he's experienced some happy detours along the way—namely as a dancer with MacArthur-winning choreographer Kyle Abraham, as well as Sidra Bell and Larry Keigwin. After a stint with Ailey II, he joined the main company in 2015. He has shown both sophistication and versatility: fearless in the "Sinner Man" section of Revelations and searing in Untitled America, Abraham's emotional exploration of how the prison system affects families.
Company: Alvin Ailey American Dance Theater
Hometown: Montclair, New Jersey
Training: Sharron Miller's Academy for the Performing Arts, The Ailey School, BFA in dance from SUNY Purchase
Monteiro in action (the second dancer in this excerpt of the "Sinner Man" section of Alvin Ailey's Revelations)
Don't give up on your dream: It took Monteiro seven auditions to get into Ailey. At one point, he decided to stop auditioning but changed his mind after some soul searching. "I realized a lesson that a lot of dancers have to learn in the age of technology," he says, "where everything is at the reach of your thumb: It's really about timing. You can't fast-forward the process."
Breakout moment: Performing Abraham's Untitled America—as an Ailey dancer. "Kyle was able to see me as 'Chalvar the dancer' and not 'Chalvar the Abraham.In.Motion dancer.' He started to see more of what I have to offer."
"I really appreciate his quiet storm.
He has a certain effortlessness
that is intoxicating." —Robert Battle
Being older has its advantages: Earlier in his career, Monteiro says he was an impressionable young dancer. "If the wind was blowing to the right, I was going to the right. Now I feel I can dictate where I want to go and why I want to go there." Dancing for a range of choreographers, learning Ailey's immense repertoire and attending performances—he loved, for instance, a recent show by Michelle Dorrance—have helped broaden his perspective.
Monteiro (left) with Jamar Roberts in Kyle Abraham's Untitled America. Photo by Paul Kolnik, Courtesy AAADT.
What artistic director Robert Battle is saying: "Chalvar's movement kind of simmers," says Battle. "He's the type of dancer that hasn't even begun to hit the notes that he will eventually hit. He has a lot of potential even within his prowess."
The trouble with being so flexible: "My legs can just kind of fly up from underneath me! I've knocked myself over a few times."
What he's working on: Ownership. "People expect to see a certain type of dancer when they come to see Ailey. But I'm just working on being honest," says Monteiro. "I want to be myself without imposing myself on the work. I'm also working on being excited by the unknown. You know Virgos: I like to know what I'm doing, when I'm doing it and who I'm doing it with. Now I'm working with being okay with not knowing everything."
Kidnapped and dishonored on the day of her wedding, Princess Amba swears vengeance on the man responsible and is reborn as the gender-shifting Shikhandi, granting her the opportunity to defeat him in battle. This is the legend behind Akram Khan's Until the Lions, his full-length work based on Karthika Naïr's poetic reinterpretation of the Mahabharata which approaches the epic from the perspective of its female characters. Performed in the round, the critically lauded work makes its U.S. debut in Los Angeles at The Music Center on Location, marking the only 2017 stateside performances of Khan. Oct. 18–21. musiccenter.org. The company also brings the piece to Stanford, Oct. 27–28, but Khan will not perform. live.standford.edu.
The dancers file into an audition room. They are given a number and asked to wait for registration to finish before the audition starts. At the end of the room, behind a table and a computer (and probably a number of mobile devices), there I sit, doing audio tests and updating the audition schedule as the room fills up with candidates. The dancers, more nervous than they need to be, see me, typing, perhaps teasing my colleagues, almost certainly with a coffee cup at my side.
Leta Biasucci is one of those dancers whose presence seems to attract the audience's eye with magnetic force. The Pacific Northwest Ballet soloist's seemingly impossible buoyancy and fiery spark have carved her out a place in a wide spectrum of roles, uninhibited by her small stature and natural inclination towards the soubrette.
We caught up with her for our "Spotlight" series:
When Katrina Lenk says her feet never touched the ground in her Broadway debut, as a replacement in Spider-Man: Turn off the Dark, she's not telling you how deliriously happy she was—though she was.
Lenk is being literal: Playing Arachne, the show's magical spider-woman, she was suspended in a gigantic web throughout. Her ability to fly and enjoy it—crucial to landing the role—was honed with a summer job "swimming" over the heads of the audience at Universal Studios. "You just never know where random experiences are gonna take you," she says.
There's something special about seeing New York City Ballet dance at Saratoga Performing Arts Center. Maybe it's the history: George Balanchine helped design the theater, and NYCB has called SPAC, which opened in 1966, its summer home for over 50 years. But over the weekend, SPAC announced that NYCB's 2018 residence will be shortened, according to Albany's Times Union.
Fall For Dance is always a huge talkabout here in the Dance Media offices. So after all the programs were performed this year, a few of the editors from Dance Magazine, Pointe and Dance Teacher got together on Google Hangouts this morning to share our thoughts. Here are excerpts from our convo:
"Do away with it."
"How about just plain old 'artist' or 'choreographer'?"
These are a few of the comments that popped up when, on a recent morning, I posted a query on Facebook fielding thoughts about the term "emerging"—as in "emerging choreographer." I can't remember when I first sensed disgruntlement toward the E-word. But in speaking with dancers and choreographers over the years, I've noticed that more often than not it elicits an eye roll, head shake, groan, sigh or shrug of "whatever that means."