This Corporate Manager Still Takes Ballet—and She Says It Helps Her Slay Presentations
Working in corporate America can be a grind, so, for many, vacation is a welcome opportunity to relax and unwind. But for Jane Collier, it's a chance to ramp up her ballet training.
Though she's based in Chicago, where she works in global sourcing for Walgreens Boots Alliance, over the last several years she's attended summer intensives at American Ballet Theatre in New York City, the Bolshoi Ballet Academy in Moscow and, most recently, the Royal Danish Ballet in Copenhagen.
Dancing in ABT's studios. Courtesy Collier
"Intensives offer me the best of both worlds: travel and great training," says Collier, who looks for strong ballet programs in locations she'd like to visit. "I love meeting other students from around the globe. In a time when so many things are polarizing, dance extends beyond language and borders. The shared experience of striving to be your best is a very galvanizing feeling."
And though most summer intensive participants are pre-professionals who haven't yet graduated high school, Collier doesn't let her age deter her. "I ask if they would consider admitting older students and let my audition speak for itself—the worst they can say is no."
"It's extremely important to me that my dedication and desire come across in my audition and in my participation in the intensive. I want to show up every day prepared to work hard, absorb and grow as a dancer. I might be a little older, but I want to demonstrate how happy I am to be there," says Collier. "No one ever has to remind me to look like I'm enjoying myself."
Collier in front of the Bolshoi Theatre in Moscow. Courtesy Collier
During the year, she takes technique and pointe regularly, plus CorePower Yoga for cross-training. Natalie Rast, who caters to adult ballet dancers of all levels at Rast Ballet, is a favorite teacher she credits with helping her refine her technique. And when Collier is at her company's downtown offices, she takes class at the Joffrey Academy of Dance.
But no matter how much she prepares, swapping the office for a dance studio at an intensive is still mentally and physically exhausting. "Thank goodness for coffee," she jokes.
Collier with Bolshoi Ballet corps dancer Anastasia Strakhova (left), whom she met while training in Moscow. Courtesy Collier
Collier's love of ballet stems back to childhood. Even when she decided to pursue other career paths, she knew that didn't have to mean leaving ballet behind. "I always intrinsically knew that I didn't have the appropriate physical attributes to be a professional ballet dancer. But I loved training so much it didn't matter." Case in point: She pressed on when she auditioned for an intensive in high school that required a letter of recommendation in which her teacher wrote, "I hope you accept Jane so she realizes the ballet world isn't for her."
When it came time for undergrad, Collier says she even chose her school, University of Wisconsin-Milwaukee, for its dance department. She trained with the dance majors while earning three degrees (economics, international studies and French) and a minor in Chinese (Mandarin)—and she graduated early. "I realized I could still train at a high level and have other career aspirations."
Even with her impressive collection of degrees (she later got her MBA from Duke University), Collier is quick to credit ballet for helping her career. "It has instilled confidence, work ethic and poise," she says. "When I encounter tough meetings or presentations, I consciously remind myself to pull down through my shoulder blades and up through my scapula. It works wonders!"
"I might not earn my paycheck from dancing," says Collier, "but it can still be a huge part of who I am and what I do."
In the middle of one of New York City Center's cavernous studios, Misty Copeland takes a measured step backwards. The suggestion of a swan arm ripples before she turns downstage, chest and shoulders unfurling as her legs stretch into an open lunge. She piqués onto pointe, arms echoing the sinuous curve of her back attitude, then walks out of it, pausing to warily look over her shoulder. As the droning of Ryuichi Sakamoto and Alva Noto's mysterious "Attack/Transition" grows more insistent, her feet start to fly with a rapidity that seems to almost startle her.
And then she stops mid-phrase. Copeland's hands fall to her hips as she apologizes. Choreographer Kyle Abraham slides to the sound system to pause the music, giving Copeland a moment to remind herself of a recent change to the sequence.
"It's different when the sound's on!" he reassures her. "And it's a lot of changes."
The day before was the first time Abraham had seen Copeland dance the solo in its entirety, and the first moment they were in the studio together in a month. This is their last rehearsal, save for tech, before the premiere of Ash exactly one week later, as part of the opening night of City Center's Fall for Dance festival.
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
Dancers are understandably obsessed with food. In both an aesthetic and athletic profession, you know you're judged on your body shape, but you need proper fuel to perform your best. Meanwhile, you're inundated with questionable diet advice.
"My 'favorite' was the ABC diet," says registered dietitian nutritionist Kristin Koskinen, who trained in dance seriously but was convinced her body type wouldn't allow her to pursue it professionally. "On the first day you eat only foods starting with the letter A, on the second day only B, and so on."
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.