Dancers Trending

Crazed Chipmunks & Royal Boxes: Dancers on Their Fave Theaters

Chicago's Auditorium Theater

For most dancers, walking into the theater elicits a familiar emotion that's somewhere between the reverence of stepping into a chapel and the comfort of coming home. But each venue has its own aura, and can offer that something special that takes your performance to a new level. Six dancers share which theaters have transported them the most.


GLENN ALLEN SIMS

Alvin Ailey American Dance Theater

Glenn Allen Sims in Alvin Ailey's Masekela Langage. Photo by Paul Kolnik, courtesy AAADT

Favorite theater: Teatro Real in Madrid, Spain

Royal details: "The theater is gorgeous and ornate, with deep red upholstery and gold trim. There is a huge royal box in the center, which takes you back to when kings and queens were watching performances there."

Impressive facilities: Even the dressing rooms are a sight to see: Amenities for the dancers include large, carpeted rooms, and towel service.


Spanish history: Sims was fascinated by the history of the theater, which was founded by King Ferdinand VII. "Knowing that I performed at one of the greatest theaters in Europe really holds a warm spot in my heart."


NATASHA DIAMOND-WALKER

Martha Graham Dance Company

Natasha Diamond-Walker at Teatro Greco Siracusa. Photo by CJ Nye, courtesy Diamond-Walker

Favorite theaters: The Joyce Theater in New York City and the Gerald R. Ford Amphitheater in Vail, Colorado

City-sized: "The Joyce has a vintage '80s vibe to it, and the backstage space is limited, but that gives it a very signature New York City feel. I love that it's really intimate—I feel like I can relate to the audience because I can see everyone's faces when I'm dancing."

Mountain air and animals: Diamond-Walker recalls performing at the Vail Dance Festival once when a "crazed chipmunk" ran onto the stage. "I love that it's outdoors. The backdrop of the mountains and the natural light that pours in is really beautiful. There is also the altitude issue—they have an oxygen tank on the side of the stage, and it adds a little bit of a dangerous edge to it all."


ALICIA MAE HOLLOWAY

Dance Theatre of Harlem

Alicia Mae Holloway with Nicholas Rose in Dialogues. Photo by Nan Melville, courtesy DTH.

Favorite theater: New York City Center

Proud moment: "Dance Theatre of Harlem performs at City Center every year, and my first year in the company I was injured and couldn't do the performance. I was devastated. But this April, I got to perform Return by our resident choreographer Robert Garland. When I walked on that stage for the first time, I realized that this was exactly what I was working towards all those years of training."

Backstage quirk: "City Center is unique in the way that backstage on stage left is tiny, but backstage on stage right is very open and about the size of a dance studio." For Holloway, having adequate space in the wings eases pre-performance jitters. "I feel more relaxed before a show because it's not the same feeling as when I'm waiting backstage in a tiny wing."


VICTORIA HULLAND

Sarasota Ballet

Victoria Hullond (second from right) and Sarasota Ballet at Jacob's Pillow. Photo courtesy Hullond.

Favorite venue: Jacob's Pillow

Peaceful vibe: "It's so different from any other venue. It's kind of out in the middle of nowhere. I found it really peaceful to be able to take class in a barn and walk around outside in between shows to collect my thoughts and refocus. And there's so much dance history there."

Audience appreciation: "In between performances you can hear the audience talking about the show. They have a real appreciation for dance—they all traveled all the way there specifically because they love dance."

Special spot: There's a wall backstage that past dancers have written messages on over the years. "It was fun to read them before the show and find a new one every day to get encouraged before performing. It was comforting to know that we all feel the same way as performers."


LIL BUCK

Freelance artist specializing in jookin

Lil Buck. Photo by Random Vision Photography, courtesy Lil Buck.

Favorite theater: Estadio Monumental Antonio Vespucio Liberti in Buenos Aires, Argentina

Endless fans: Lil Buck danced in Madonna's The MDNA Tour here in 2012. "The audience was as far back as the eye could see. I stage-dived for the first time!"

Perfectly planned: Madonna's team set up everything beforehand—hair, makeup, food and dressing rooms. "It was perfectly choreographed for the safest routes from the backstage area to where we needed to be on the stage."


PRINCE CREDELL

Nederlands Dans Theater

Prince Credell in Sol Leon and Paul Lightfoot's Stop-Motion. Photo by Rahi Rezvani, courtesy NDT.

Favorite theater: New York City Center

Major nostalgia: When Credell performed at City Center last year, it brought him back to his adolescence at The Ailey School. "During Ailey's 40th-anniversary season gala many years ago, I was able to make a big impression on that stage that inspired the artistic staff to foster my growth from a young age." After spending so many years training to make it to the professional level, performing on that stage felt like coming full circle. "Performing at City Center reminded me how my love of dance has defined so much of my life."

The Conversation
Dancers Trending
Hamrick rehearsing Port Rouge in St. Petersburg. Photo courtesy Hamrick

Choosing music for your first-ever choreography commission can feel daunting enough. But when you're asked to create a ballet using the vast discography of the Rolling Stones—and you happen to be dating Stones frontman Mick Jagger—the stakes are even higher.

So it's understandable that as of Monday, American Ballet Theatre corps de ballet dancer Melanie Hamrick, whose Port Rouge will have its U.S. premiere tonight at the Youth America Grand Prix gala, was still torn about which songs to include.

Keep reading... Show less
Hive by Boston Conservatory student Alyssa Markowitz. Photo by Jim Coleman

The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.

Keep reading... Show less
Advice for Dancers
Photo by freestocks.org/Unsplash

What is an acceptable request from a choreographer in terms of nudity? On the first day of shooting All That Jazz in the 1970s, Bob Fosse asked us men to remove everything but our jock straps and the women to remove their tops. His rationale was to shock us in order to build character, and it felt disloyal to refuse. Would this behavior be considered okay today?

—Anonymous

Keep reading... Show less
Career Advice
Stephen Mills' Grimm Tales, which premiered last month, is the first ballet funded by the Butler New Choreography Endowment. Photo by Anne Marie Bloodgood, Courtesy Ballet Austin

As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.

So where can companies find the money?

Keep reading... Show less
Sponsored by McCallum Theatre
Last year's winner: Manuel Vignoulle's EARTH. Jack Hartin Photography, Courtesy McCallum Theatre

It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.

Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.

Keep reading... Show less
Dance History
Merce Cunningham in his Changeling (1957). Photo courtesy DM Archives

Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.

Courtesy DM Archives

Dance in Pop Culture
Courtesy MPRM Communications

A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.

But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."

Keep reading... Show less
News
A 1952 photograph of Merce Cunningham in Sixteen Dances for Soloist and Company of Three. Photo by Gerda Peterich, Courtesy Blake Zidell & Associates

One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.

This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.

The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.

Keep reading... Show less
The Creative Process
George Balanchine's Don Quixote. Photo by Martha Swope ©The New York Public Library for the Performing Arts

When George Balanchine's full-length Don Quixote premiered in 1965, critics and audiences alike viewed the ballet as a failure. Elaborate scenery and costumes framed mawkish mime passages, like one in which the ballerina washed the Don's feet and dried them with her hair. Its revival in 2005 by Suzanne Farrell, the ballerina on whom it was made and to whom Balanchine left the work, did little to alter its reputation.

Yet at New York City Center's Balanchine festival last fall, some regretted its absence.

"I'd want to see Balanchine's Don Quixote," says Apollinaire Scherr, dance critic for the Financial Times. "It was a labor of love on his part, and a love letter as well. And you want to know what that looks like in his work."

Even great choreographers make mistakes. Sometimes they fail on a grand scale, like Don Quixote; other times it may be a minor misstep. Experiment and risk help choreographers grow, but what happens when a choreographer of stature misfires? Should the work remain in the repertory? And what about a work that fails on some levels but not others?

Keep reading... Show less
News
Sarah Lane will perform in one of the "You Are Us" benefit concerts. Photo by Erin Baiano, Courtesy ABT

After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.

Keep reading... Show less
News
Malpaso Dance Company in Cunningham's Fielding Sixes. Photo by Nir Ariel, Courtesy Richard Kornberg & Associates

Throughout 2019, the Merce Cunningham Trust continues a global celebration that will be one of the largest tributes to a dance artist ever. Under the umbrella of the Merce Cunningham Centennial are classes and workshops, film screenings and festivals, art exhibitions and symposia, and revivals and premieres of original works inspired by the dancemaker's ideas. The fever peaks on April 16, which would have been the pioneering choreographer's 100th birthday, with Night of 100 Solos: A Centennial Event, featuring a total of 75 dancers in three performances live-streamed from London, Los Angeles and New York City.

Keep reading... Show less
Career Advice
Tan Li Min working with Queensland Ballet dancer Lou Spichtig. Photo by Jovian Lim, Courtesy Cloud & Victory

Cloud & Victory gets dancers. The dancewear brand's social media drools over Roberto Bolle's abs, sets classical variations to Beyoncé and moans over Mondays and long adagios. And it all comes from the mind of founder Tan Li Min, the boss lady who takes on everything from designs to inventory to shipping orders.

Known simply (and affectionately) to the brand's 41K Instagram followers as Min, she's used her wry, winking sense of humor to give the Singapore-based C&V international cachet.

She recently spoke with Dance Magazine about building the brand, overcoming insecurity and using pizza as inspiration.

Keep reading... Show less
News
Alia Kache in rehearsal with Ballet Memphis. Photo by Louis Tucker, Courtesy Ballet Memphis

The Ballet Memphis New American Dance Residency, which welcomes selected choreographers for its inaugural iteration next week, goes a step beyond granting space, time and dancers for the development of new work.

Keep reading... Show less
News
Maddie Ziegler will play one of the Jets. (photo by Lucas Chilczuk)

This is huge news, so we'll get straight to it:

We now (finally!) know who'll be appearing onscreen alongside Ariana DeBose and the other previously announced leads in Steven Spielberg's remake of West Side Story, choreographed by Justin Peck. Unsurprisingly, the Sharks/Jets cast list includes some of the best dancers in the industry.

Keep reading... Show less
Cover Story
Courtesy Khoreva

The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?

Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.

Keep reading... Show less
25 to Watch
Photo credits, clockwise from bottom left: Peter Mueller, Courtesy Cincinnati Ballet; Jayme Thornton; Jochen Viehoff, Courtesy Stephanie Troyak; Karolina Kuras, Courtesy National Ballet of Canada; Natasha Razina, Courtesy State Academic Mariinsky Theatre; Kim Kenney, Courtesy Atlanta Ballet; Jim Lafferty; Arian Molina Soca, Courtesy Pennsylvania Ballet; Altin Kaftira, Courtesy Dutch National Ballet; Scott Shaw, Courtesy Shamar Wayne Watt

What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.

Here they are: the 25 up-and-coming artists we believe represent the future of our field.

Keep reading... Show less
News
Youth America Grand Prix alumna Michaela DePrince. Photo by VAM, Courtesy YAGP

Since its inception in 1999, Youth America Grand Prix has grown to have an outsize impact on the ballet world, with more than 450 alumni now dancing with 80 companies across the globe.

Keep reading... Show less
Dancers Trending
Jesse Obremski captivates as a freelancer for many NYC–based troupes. Photo by Roi Lemayh, Courtesy Gibney Dance Company

At six feet tall, Jesse Obremski dances as though he's investigating each movement for the first time. His quiet transitional moments are as astounding as his long lines, bounding jumps and seamless floorwork. Add in his versatility and work ethic, and it's clear why he's an invaluable asset to New York City choreographers. Currently a freelance artist with multiple contemporary groups, including Gibney Dance Company and Limón Dance Company, Obremski also choreographs for his recently formed troupe, Obremski/Works.

Keep reading... Show less
News
Photo by @FullOutCreative

Last night at Parsons Dance's 2019 gala, the company celebrated one of our own: DanceMedia owner Frederic M. Seegal.

In a speech, artistic director David Parsons said that he wanted to honor Seegal for the way he devotes his energy to supporting premier art organizations, "making sure that the arts are part of who we are," he said.

Keep reading... Show less
Advice for Dancers
Getty Images

I've been on a crying jag since I sprained my ankle for the third time. It kills me that I can't dance my favorite roles. I'm also disgusted with myself for being a crybaby.

—Maggy, Philadelphia, PA

Keep reading... Show less
Dance in Pop Culture
Michael Parmalee/FX

It's a bit of an understatement to say that Bob Fosse was challenging to work with. He was irritable, inappropriate and often clashed with his collaborators in front of all his dancers. Fosse/Verdon, which premieres on FX tonight, doesn't sugarcoat any of this.

But for Sasha Hutchings, who danced in the first episode's rendition of "Big Spender," the mood on set was quite opposite from the one that Fosse created. Hutchings had already worked with choreographer Andy Blankenbuehler, who she calls "a dancer's dream," director Tommy Kail and music director Alex Lacamoire as a original cast member in Hamilton, and she says the collaborators' calm energy made the experience a pleasant one for the dancers.

"Television can be really stressful," she says. "There's so many moving parts and everyone has to work in sync. With Tommy, Andy and Lac I never felt the stress of that as a performer."

Keep reading... Show less

mailbox

Get Dance Magazine in your inbox