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Two Sides of the Same Story
Auditions end in one of two ways: Either the dancer gets the job, or she doesn’t. But the actual why is harder to pinpoint. A fierce technician might get cut right away; the fastest learner in the room might go home after round one. Getting hired often comes down to a delicate combination of what a dancer has to offer and what a director happens to be looking for—from technique to versatility, from attitude to the indescribable “it factor.” To find out what goes into that dancer/director alchemy, we talked to both sides. Here three dancers reflect on the fateful audition that got them hired, and their directors tell us what they saw.
The dancer: Odara N. Jabali-Nash of Philadanco
I didn’t pay much attention to artistic director Joan Myers Brown while I was auditioning. I remember her stating that she was looking for the “it factor” in a dancer, the thing that would set them apart from the rest. But I focused on what was being asked of me, and just hoped that she was seeing something in me. When I audition I never focus on the panel in the front. I stay in the zone and focus on getting the job.
The director: Joan Myers Brown
Odara attracted my attention with her aloofness. She was there to audition, and it was (and still is) all business, no foolishness. She was well-groomed, appropriately dressed, and well-trained. I remember thinking she was subdued—holding back—but we felt that we could pull something out of her.
The dancer: Stephanie Guilland-Brown, NYC dancer; formerly of Donald Byrd/The Group
Donald gives a good poker face. In hindsight, now that I know him so well and have seen how he focuses on the dancers he likes, I guess he did watch me quite a bit. But all I remember is hearing him say, ‘Use your through line.’ Up until that moment, I had never heard this—not at the ballet barre, not in the center of a jazz class. I felt so silly, but I used the opportunity to learn and apply the note. Having his company members there in the front of the room stressed me out, but it pushed me to really commit.
The director: Donald Byrd
At the time I was looking for a whole company of Ruthlyn Salomons. She was petite and waiflike and could really move. When Stephanie auditioned, she wasn’t what I thought I wanted—a short powerhouse. But I couldn’t take my eyes off of her. That was telling me something. At a certain point I had to rethink what my aesthetic was. I thought, I have to work with people who are interesting and who I am interested in. After the audition I couldn’t remember anyone but her.
The dancer: William Isaac of Armitage Gone! Dance
We began working on two phrases that were contemporary in style, and Karole Armitage was very pleased with my movement quality. But most importantly I was a tall man. She had seen other men, but most of them were on the shorter side. She explained to me the concept of her ballet, Time is the echo of an axe within a wood, and how it had all of these different styles from yoga to martial arts ballet, and modern, of course. Then she said “vogueing,” to which I said “I vogue.” I used to be part of the ballroom scene. Well, after that she offered me the job, so I guess all those years of vogueing in clubs paid off!
The director: Karole Armitage
I want each dancer to have a different flavor, so that the whole group is unique and full of spice. I want to see if they can break the habits of a lifetime of training and reconfigure the geometry of the shapes with a new approach. William could move in so many different ways, and that is exactly what the piece required. He just understood the movement and concept. I also needed a man who was a good partner both classically and contemporarily, and he was strong in both areas.
Photo of Odara N. Jabali-Nash of Philadanco by Lois Greenfield, courtesy Philadanco
I love being transgender. It's an important part of the story of why I choreograph. Although I loved dance from a very young age, I grew up never seeing a single person like me in dance. So how could I imagine a future for myself there?
The enormous barriers I had to overcome weren't internal: I didn't struggle with feelings of dysphoria, and I wasn't locked down by shame.
The dance community is heartbroken to learn that 14-year-olds Jaime Guttenberg and Cara Loughran were among the 17 people killed during the February 14 shooting at Marjory Stoneman Douglas High School in Parkland, FL.
Guttenberg was a talented competition dancer at Dance Theatre in Coconut Creek, FL, according to a report from Sun Sentinel. Dance Theatre owner Michelle McGrath Gerlick shared the below message on her Facebook page, encouraging dancers across the country to wear orange ribbons this weekend in honor of Guttenberg, whose favorite color was orange.
In today's dance world, it seems to go without saying: The more varied the training, the better. But is that always the case? Rhonda Malkin, a New York City–based dance coach who performed with the Radio City Rockettes, thinks trendy contemporary techniques that emphasize improvisation and organic movement quality are detrimental to the precision and strength needed to be a Rockette, in a traditional Broadway show or on a professional dance team. Her view is controversial: "If you really want to work, making $40,000 in three months for the Rockettes or $25,000 in one day filming a commercial, you need ballet, Broadway jazz, tap, hip hop—not contemporary," she says.
On the flip side, techniques that allow dancers more freedom may help them connect more deeply with their body and artistry, while providing release for overused muscles. We broke down the argument for both sides:
For many dancers, a "warmup" consists of sitting on the floor stretching their legs in various positions. But this strategy only reduces your muscles' ability to work properly—it negatively affects your strength, endurance, balance and speed for up to an hour.
Save your flexibility training for the end of the day. Instead, follow a warmup that will actually help prevent injury and improve your body's performance.
According to the International Association of Dance Medicine and Science, a smart warmup has four parts: "a gentle pulse-raising section, a joint mobilization section, a muscle lengthening section and a strength/balance building section."
A statement released yesterday by New York City Ballet and School of American Ballet reported that an independent investigation was unable to corroborate allegations of harassment and abuse against former ballet master in chief Peter Martins, according to The New York Times. This marks the end of a two-month inquiry jointly launched by the two organizations in December following an anonymous letter detailing instances of harassment and violence.
The statement also included new policies for both the company and school to create safer, more respectful environments for the dancers, including hiring an independent vendor to handle employee complaints anonymously. These changes are being made despite the independent investigation, handled by outside counsel Barbara Hoey, purportedly finding no evidence of abuse.
Not all ballet dancers cling to their youth. At 26, Lauren Lovette, the New York City Ballet principal, has surpassed the quarter-century mark. And she's relieved.
"I've never felt young," she says. "I can't wait until I'm 30. Every woman I've ever talked to says that at 30 you just don't care. You're free. Maybe I'll start early?"
When Beatlemania swept through the U.S. in the 1960s, Mark Morris was one of millions of young Americans who fell head over heels for the revolutionary group. "I was not immune," the choreographer says. "My sisters were mad about The Beatles and so was I. At age 12 I had a crush on Paul, of course."
Flash forward 50 years and he is still rocking to the British band, but this time with a new Beatles-inspired dance work his company is touring across North America, starting this month with scheduled stops in Seattle, Toronto, Portland, Oregon, and another 25 cities before the end of 2019.
You could call it island-hopping, but it's not exactly a vacation. After choreographing last season's Come From Away, and winning a Tony nomination, Kelly Devine zipped from frosty Newfoundland to the Caribbean beach resort that is the setting for Escape to Margaritaville.
In the fall, she was shuttling between them, before they start this month: flying to Toronto to prepare a new Canadian production of Come From Away, then jetting back to Chicago for the final stop of Margaritaville's four-city pre-Broadway tryout.
"These two shows could not be more different from each other," Devine says with a dash of understatement. Come From Away is about the small Newfoundland town where airliners grounded by the 9/11 attacks dumped thousands of unexpected visitors; Escape to Margaritaville, at the Marquis Theatre, is a comic island romance concocted from the beachcomber songbook of Jimmy Buffett.
How does someone go from being a New York City Ballet corps member to training Hollywood A-listers like Natalie Portman, Rooney Mara and Jennifer Lawrence? By getting injured, says Kurt Froman.
When an ankle sprain left him sidelined a few years back, Froman was "sitting at home, depressed" when he sent his friend Benjamin Millepied an email asking what he was up to. It turned out that Millepied had just been hired to choreograph some scenes for a movie, but had to be in Paris during pre-production. "He needed someone to teach two actors choreography and get them in shape," says Froman. With nothing else on his plate, he said yes, and started prepping Natalie Portman and Mila Kunis for Black Swan.