James Whiteside on His Upcoming Pop Collaboration With Isabella Boylston and Singer Rozzi
"Cindies" fans, this one's for you. February 9-10, American Ballet Theatre's James Whiteside and Isabella Boylston are collaborating with pop singer Rozzi to put on a full-length show titled When I Think Of You at The Argyros Performing Arts Center in Ketchum, Idaho. Set to Rozzi's debut album Bad Together, performed live by the singer and her band, the show features choreography by Whiteside, Boylston, ABT's Gemma Bond and commercial dancer Ai Shimatsu with dancing by Whiteside, Boylston and ABT soloist Calvin Royal III.
Whiteside is no stranger to pop music. The principal dancer doubles as singer/songwriter JbDubs, known for choreographing and producing his own wild music videos and performances. We touched base with Whiteside to hear all about how When I Think of You came to be, what this unique show will look like, and how he balances his musical career with his work at ABT.
How did you become familiar with Rozzi's music?
It was actually through Isabella. Rozzi found her on Instagram and asked her to dance in a music video for a song called Mad Man that should be released later this month, and Bella asked me to choreograph the piece. Bella had me listen to the song and I loved it, it's just excellent pop vocal music. That girl's got pipes for sure.
What was the process of choreographing the music video like?
I wanted to come up with something that would make Bella feel powerful and feminine. I obviously know Isabella really well and know some of her favorite steps, so I'm really excited for people to see it when it comes out.
How did the idea for this show come about?
Isabella and Rozzi got along so well that they started talking about doing a show together. Rozzi's debut album came out at the end of 2018, so we thought it would be a really good time to do some cross promotion and make something really different and special. So essentially this show, called When I Think of You, is an abstract narrative about relationships, and our relationships to music and dance and art as therapy. Bella talked to the Argyros theater in Idaho, it's a new theater there near her hometown, and they agreed to produce it.
What's your role in the show?
Bella asked me to choreograph a number of pieces for it, so I've choreographed Mad Man, which is a solo for Isabella, and I'm choreographing a solo for Calvin Royal titled Joshua Tree, which is wistful and sad and nostalgic. And I'm co-choreographing a piece with Isabella called Never Over You, which is a classical pas de deux with pointe shoes, and then another duet for me and Bella in sneakers, which is more of a popular dance number to a song called 66 Days. It's about missing someone that you'd seen a lot.
How is the show structured?
It's in two acts. We're building it on the theme of Rozzi's album, which is generated around a breakup. So we wanted the show to have a feel of a relationship's timeline. Isabella and Calvin and I play different characters in this narrative, song to song. There are some songs where we're all playing Rozzi's character, and there songs where one of us is playing her lover. Each number is built with a transition so there can be time for costume and shoe changes, because it goes seamlessly from pointe shoe numbers to street numbers to numbers with high heels.
What are rehearsals like?
Rozzi is based in Los Angeles, so it's been hard because we're trying to coordinate with the live versions of the songs. She's been recording herself with her band, so we're actually rehearsing to her live rehearsals with her band to get a sense of what it will be like. They're definitely different than her studio recorded vocals.You've choreographed a number of music videos to your own pop songs.
What does it feel like to do that kind of work for someone else's vision?
I almost prefer choreographing to someone else's music, because when I'm making the dances to my own music I am constantly criticizing my work. But Rozzi is a really talented vocalist and her producers and team are really slick, so it's been fun exploring the nuances of her music through movement.
What's it like for you and your ABT colleagues to work on outside projects like this together? Does it affect your work relationships when you're back in the studio?
All of these side projects bring us closer together and make us work together much better. All of these shared experiences are going directly into our performances. You can hopefully see that in our relationships onstage, and see that it's real, even though we may be playing a character. The foundation of the emotion is real.
How do you balance your interest in pop music and commercial choreography with your career at ABT?
Commercial choreography interests me greatly because I have a very classical background but I also trained in jazz and tap and acrobatics. So it's a marriage of my past and my present. I think I have an understanding of what commercial dance is to a point, and I think that the added classical element is interesting for viewers and and looks different than perhaps what is overdone at the moment. I'm hoping it's a welcome change.
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Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
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.
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
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.
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Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.