- The Latest
- Breaking Stereotypes
- Rant & Rave
- Dance As Activism
- Dancers Trending
- Viral Videos
- The Dancer's Toolkit
- Health & Body
- Dance Training
- Career Advice
- Style & Beauty
- Dance Auditions
- Guides & Resources
- Performance Calendar
- College Guide
- Dance Magazine Awards
- Meet The Editors
- Contact Us
- Advertise/Media Kit
- Buy A Single Issue
- Give A Gift Subscription
Lincoln Center Mitzi Newhouse Theater
New York City, New York
For anyone aware of Agnes de Mille's contribution to musical theater, Contact is hardly innovative. It's three short stories told with minimal dialogue, substituting dancing to music for conventional musicals' singing to music in order to move the plot along. Director/choreographer Susan Stroman, whose dances for Show Boat and Steel Pier garnered critical praise, is adept at shaping the familiar vocabulary of social dance to advance her narrative.
Contact has all the Broadway trappings: gliding sets on recessed tracks by Thomas Lynch, chic costumes by William Ivey Long, high-tech lighting by Peter Kaczorowski. But the charm of the show is watching the wonderful performers negotiate the intricate choreography, crammed onto the spatially-challenged thrust stage of Lincoln Center's Newhouse Theater. Abetted by John Weidman's succinct dialogue and some brilliant casting, Stroman has concocted a fast-moving entertainment that may elevate dance's role a notch in theatrical visibility.
The curtain-raiser, Part I: Swinging, is set in eighteenth-century France. Young woman (Stephanie Michels) on rustic swing flirts with beau (Seán Martin Hingston). Beau's manservant (Scott Taylor) keeps swing in constant motion, even whenin beau's momentary absencehe and lady have steamy sex on it.
Karen Ziemba is heartbreaking in Part II: Did You Move?, as a fifties housewife who stoically suffers husband's (Jason Antoon) verbal abuse in a Queens restaurant. Each time he exits to the buffet, she waltzes ecstatically around the tables, romancing the headwaiter (David MacGillivray), to Tchaikovsky's Eugene Onegin Waltz, and fantasizes about liberation from her husband's cruelty. When he catches her in one of these flights of fancy, a scuffle ensues, and she shoots him deadbut then he really returns with his manicotti. Ziemba realizes that her triumphal act of vengeance was only a dream within a dream, and her wonderfully expressive face crinkles into a grimace that embodies the desperation of the rest of her life with him.
In the most fully developed section, Part III: Contact, terrific actor Boyd Gaines, a prize-winning TV adman, contemplates suicide. His downstairs neighbor leaves him angry voice-mail messages about getting carpet to muffle his late-night pacing that's keeping her awake. After an apparently botched attempt to hang himself, he flees to an after-hours dance club where he meets the girl of his dreams, The Girl in the Yellow Dress (Broadway newcomer Deborah Yates). When he returns to reality, he finally meets his annoyed neighbor, who turns out to be her incarnation. He realizes what's been missing from his life, and they fox-trot into eternal bliss.
It's especially nice to see a cast of dancers who look and act like real characters, rather than the twenty-something Kens and Barbies who used to populate Broadway musical chorus lines. Let's hope the trend of hiring seasoned, mature, and physically diverse dancers is here to stay.
"There's an ancient energy in Fana's movement, a deep and trusted knowing," says Jeff, director of the Chicago-based Deeply Rooted Dance Theater. "Because I witnessed the raw humanity of his dancer's souls, I wanted my dancers to have that experience."
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.
The ballet world will converge on San Francisco this month for San Francisco Ballet's Unbound: A Festival of New Works, a 17-day event featuring 12 world premieres, a symposium, original dance films and pop-up events.
"Ballet is going through changes," says artistic director Helgi Tomasson. "I thought, What would it be like to bring all these choreographers together in one place? Would I discover some trends in movement, or in how they are thinking?"