- 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
Dancing for Doug
All photos by Kyle Froman
Above: Elkins demonstrates a step. Here: Mark Gindick and Cori Marquis work on a phrase
It’s been a while since Doug Elkins has made a dance without a big story to guide him. In 2006, he affectionately spoofed The Sound of Music with his popular Fräulein Maria, which toured 17 cities over three years. In Mo(or)town/Redux (2012), he used Shakespeare’s Othello as a framework for risky partnering and steps inspired by his b-boying past.
His latest work, Hapless Bizarre, maintains his signature wit—made goofier by new collaborator Mark Gindick, a visitor from the world of clowning and physical comedy—but forgoes any predetermined storyline. At a rehearsal at DANY Studios in New York City, prior to the piece’s February premiere, five of his dancers played around with new material as Elkins nudged the dance in different directions. Siobhan Burke spoke with him after.
What were you working on today?
Transitions. Right now we’re tying loose ends together. If something’s ambiguous, should it stay ambiguous? I don’t necessarily feel the need to resolve everything.
Do you choreograph with a story in mind? It seems like there are a lot of little narratives happening at the same time.
I’m not looking for a linear narrative, but I’m looking at things accumulating, and you build meaning out of that. More of a collage than anything. There are definitely a lot of little stories and premises that bang into each other. Watching those things happen, watching them connect or fail to connect, is interesting for me. Part of the structure is its own failure. That sounds a little esoteric, but the missed opportunities are just as important as when connections are made.
Left top: Kyle Marshall with Mark Gindick. Bottom: Marshall with Deborah Lohse.
What’s an example of that?
Like, someone going to do something and doing it poorly—which isn’t really poorly, it’s just the failure has a different quality.
What are you exploring in this piece that’s new for you?
Well, integrating a range of people. But I tend to always be interested in playing with everyone’s collective corporeality—their movement languages and ideas—and how that either synthesizes or fails to in rehearsal. It’s interesting watching Mark, who’s not a “dancer.” After a while, I don’t even think that’s a special feature. He just becomes part of the community, and he brings his movement palette with him, or a new palette is made out of everyone’s abilities.
But do I feel it’s new? I feel it’s developing in a different way. Part of me wants to satisfy you by saying what I think this piece is about, but I have no real idea yet. That’s fascinating for me, too, because with my last two works, I knew what the vessel of the ideas was. Watching these narratives appear and fade into smoke—it’s more abstract than anything I’ve done in a while.
How do you approach making the actual movement?
If you and I and Mark were making a work, we’d get in a room and just start asking, “What interests you in terms of moving? All right. Teach me a phrase of yours so I can learn the DNA of it. Wow, you like to lead with the joints a lot. You like to spiral forward before you go back.” Or sometimes I ask the dancers to build a phrase with me. “Can you retrograde it in the middle? Now can you use the phrase to go under me when I go up and around? Can our dances dance together?”
You’re known for combining different movement languages very fluidly, like Scottish dance and voguing, or break dancing and Graham technique. What are you working with this time?
New vaudeville. Strange snippets of odd musicals. Cinematic ideas, from silent comedians like Keaton, Chaplin, a French filmmaker named Jacques Tati. And Jackie Chan.
What do you look for in a dancer?
People who are willing to play seriously. Deep play. People who have a very strong tolerance for uncertainty. Like, “Hmmm, I don’t know if that’s right. Hmmm, that looks pretty. But do we want it to be pretty? Pretty’s just one choice.” Sometimes my approach is like, “Mark, come in at the wrong time. Come in after you’re supposed to come in. Amusing. Let’s try that a few more times."
For Hapless Bizarre tour dates, see dougelkinschoreography.com.
Above, clockwise from left: Gindick and Lohse. John Sorensen-Jolink and Cori Marquis. Elkins watches a scene come together.
New York City Ballet is celebrating the Jerome Robbins Centennial with twenty (20!) ballets. The great American choreographer died in 1998, so very few of today's dancers have actually worked with him. There are plenty of stories about how demanding (at times brutally so) he could be in rehearsal. But Peter Boal has written about Robbins in a more balanced, loving way. In this post he writes about how Robbins' crystal clear imagery helped him approach a role with clarity and purpose.
Who says you need fancy equipment to make a festival-worthy dance film? Right now, two New York City–based dance film festivals are calling for aspiring filmmakers to show their stuff—and you don't need anything more cumbersome than a smartphone to get in on the action.
Here's everything you need to know about how to submit:
On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.
We all know that the general population's knowledge of ballet is sometimes...a bit skewed. (See: people touching their fingertips to the top of their head, and Kendall Jenner hopping around at the barre.)
Would your average Joe know how to do ballet's most basic step: a plié? Or, more to the point, even know what it is?
SELF decided to find out.
When Lisset Santander bourréed onstage as Myrtha in BalletMet's Giselle this past February, her consummate portrayal of the Queen of the Wilis was marked by steely grace and litheness. The former Cuban National Ballet dancer had defected to the U.S. at 21, and after two years with the Ohio company, she's now closer to the dance career she says she always wanted: one of limitless possibilities.
For 17 years, James Samson has been the model Paul Taylor dancer. There is something fundamentally decent about his stage persona. He's a tall dancer—six feet—but never imposes himself. He's muscular, but gentle. And when he moves, it is his humanity that shines through, even more than his technique.
But all dancing careers come to an end, and James Samson's is no exception; now 43, he'll be retiring in August, after a final performance at the Teatro Romano in Verona, where he'll be dancing in Cloven Kingdom, Piazzolla Caldera and Promethean Fire.
The wait for Alexei Ratmansky's restaging of Petipa's Harlequinade is almost over! But if you can't wait until American Ballet Theatre officially debuts the ballet at the Metropolitan Opera House on June 6, we've got you covered. ABT brought the Harlequinade characters to life (and to the Alder Mansion in Yonkers, NY) in a short film by Ezra Hurwitz, and it's a guaranteed to make you laugh.
When an anonymous letter accused former New York City Ballet leader Peter Martins of sexual harassment last year, it felt like what had long been an open secret—the prevalence of harassment in the dance world—was finally coming to the surface. But the momentum of the #MeToo movement, at least in dance, has since died down.
Martins has retired, though an investigation did not corroborate any of the claims against him. He and former American Ballet Theatre star Marcelo Gomes, who suddenly resigned in December, were the only cases to make national headlines in the U.S. We've barely scratched the surface of the dance world's harassment problem.
Many choreographers have been defeated by Stravinsky's Rite of Spring. However, one dancemaker whose stridency, rhythmic daring and sheer inventiveness could possibly match Stravinsky's is Wayne McGregor. For his first commission from American Ballet Theatre, McGregor has taken on this earth-cracking music in AFTERITE, to premiere at ABT's Spring Gala. Also on the May 21 gala program are excerpts from Alexei Ratmansky's restaging of the comic ballet Harlequinade, the full version of which will premiere next month, and a pièce d'occasion by tapper Michelle Dorrance. May 21–26. abt.org.
If diamonds are a girl's best friend, it's safe to say that faux-diamond earrings are a dancer's best friend. A fixture onstage at just about every competition weekend, these blinged-out baubles are also the surest sign that recital season is upon us again. And what better way to get into the sparkly spirit than by drooling over these 5 diamonds in the rough? (Sorry not sorry!)