Inside DM

L.A.'s Golden Girl

Talent and versatility have made Tyne Stecklein in demand for stage and screen.

 

 

Photo by Rose Eichenbaum.

Whether snuggling in bed with Tom Cruise as a Rock of Ages groupie, dancing Burlesque alongside Cher and Christina Aguilera, or sharing a stage with the formidable King of Pop, it’s clear that Tyne Stecklein has more than enough star power to hold her own against Hollywood’s biggest and brightest. But don’t mistake her for a diva—thanks to her experience with the This Is It tour and the tragic loss of Michael Jackson, Stecklein doesn’t take her success for granted.

“It really taught me to give every audition, every dance class, every job 120 percent,” says Stecklein. “You never know what your next job will be or how long it will last. Nothing is certain, so it taught me to live in the moment and do things even more full-out than before.”

In just six years, Stecklein has worked an astounding amount and cemented herself as one of the dance industry’s reliable workers. Choreographers like Marguerite Derricks, Kenny Ortega, and Michael Rooney hire her for her fluid, refined style and effortless extension. Having recently added “actress” to her resumé, Stecklein’s dance and acting credits span genres from television to film to music videos. Dance Magazine sat down with Stecklein to find out more about how this Colorado-born dancer went about breaking into the Hollywood dance scene.

Like fellow rising stars Travis Wall and the DelGrosso sisters, Stecklein learned to love dance in her mother’s classroom. A former Colorado Ballet dancer, Andra Stecklein had once owned a studio but transitioned to teaching at Aurora, Colorado–based Miller’s Dance Studio after the births of Stecklein and her two older brothers. “My mom was my jazz teacher growing up,” says Stecklein, who began dancing at 3 and competing at 8. “I credit a lot of my training to her.”

Andra Stecklein took Tyne to spend summers in Los Angeles as early as age 12. “I’d take class at Millennium, EDGE, Debbie Reynolds—as many different places as I could,” remembers Stecklein. “My first time out in California, I knew that I wanted to pursue this as a career.”

Stecklein returned to L.A. the following summer on an LADF “Dance with the Force” scholarship, which enabled her to take unlimited classes at Hollywood’s EDGE Performing Arts Center and perform in its summer showcase. Throughout high school, Stecklein continued to train in Los Angeles, steadily honing her commercial dance pedigree alongside full dance training at Miller’s Dance Studio and International Ballet School back in Colorado.

Connecting with powerful dance mentors was another key to Stecklein’s eventual success. The young dancer cites both Justin Giles and Mark Meismer as influences during her high school years, having danced in both choreographers’ companies. The company experience itself also proved formative for Stecklein, who says it provided a stark contrast to her later work in the commercial field.

“I really enjoy doing commercial work, but I don’t always get to utilize my training. Sometimes it’s more about a look or a certain style and not as focused on the art form or the technical side,” says Stecklein, who was also once part of Boulder-based contemporary ballet company Lemon Sponge Cake. “I’m really grateful for those opportunities.”

From an outside point of view, it may seem like Stecklein was destined to head to Hollywood, but her choice was ultimately more pragmatic than dreamy. “I debated between going to New York or Los Angeles. In the end, I felt like you could start out in New York as an older dancer, whereas in L.A., it’s better to be young and fresh,” says Stecklein, who was barely 18 when she moved west in the summer of 2006. (Stecklein had graduated high school a semester early in order to go on tour as an assistant teacher with L.A. Dance Magic.)

It was a call from her agent that first sparked the move. The offer? A gig as a backup dancer on Latin pop star Chayanne’s world tour. Stecklein’s involvement ended up being short-lived but serendipitous. During her brief stint, she met fellow dancer Corey Anderson, whom she went on to marry in August 2011. At the time, Stecklein recalls feeling somewhat disheartened: “I was 18 and I’d just moved my whole life here and I ended up not doing the job,” she remembers.

Solace soon followed in the form of another opportunity: the chance to audition for the High School Musical tour and work with Charles Klapow and Kenny Ortega (names that have come into play throughout Stecklein’s career). Stecklein was one of four female dancers chosen for the job, which provided swift exposure to the intense limelight shining on Disney’s red-hot property. “I’d just gotten to L.A. and all of sudden I was dancing in huge stage shows and huge arenas,” says Stecklein, who went on to appear in the movie High School Musical 2.

The gig was just the jumpstart Stecklein’s career needed. Unlike many dancers new to L.A., Stecklein managed to book a steady stream of jobs, including music videos for Gym Class Heroes, Christina Aguilera, and OneRepublic; stage shows like Cher’s Caesars Palace extravaganza; commercials for Adidas and Old Navy; and movies like Step Brothers, The Curious Case of Benjamin Button, and 17 Again. It was official—the leggy blonde had arrived, and Hollywood had taken notice.

Yet Stecklein’s true breakout role came in 2009 when Ortega resurfaced with a new project: Michael Jackson’s This Is It. More than 600 dancers from all over the world flocked to L.A.’s Nokia Theatre for the invitation-only audition. “I never in a million years thought I would book the job,” she admits. “With hip-hop not being my strong point and also being a bit young, I was just excited to be asked to audition.”

The whirlwind that followed came as a shell shock for Stecklein. Not only did she make it past Day One, but she became one of just two principal female dancers to get the job after being chosen on the spot by Jackson the next day. (Stecklein says he later told them he had a “feeling” about each of them as genuine individuals.)

The plan: to rehearse for three months and stage a gigantic concert production in London’s O2 arena with performances stretching over two years. The reality: Eight days before the dancers and crew were to leave for London, they got the devastating news that Jackson had died.

“We’d been onstage with Michael until midnight the day before,” remembers Stecklein. The dancers had been rehearsing as many as six days per week for up to 12 hours a day, and Jackson had been there almost every day. “There had been no indication he was ill. It was so sad to lose him because he was such an amazing talent and so incredible to work for.”

Stecklein regrouped with the help of the other dancers, especially Misha Gabriel and Shannon Holtzapffel (who are still her close friends today), and took the stage at the lavish Staples Center memorial. “Losing Michael made us even closer,” says Stecklein. “That was one job where we really stayed like a family afterward.”

The show must go on—and, for Stecklein, that meant accepting a role as Jessie in Burlesque several months after the This Is It tour unexpectedly dissolved. Not only would the job reunite Stecklein with Cher, but it would also call on her recent training in acting. She’d auditioned for the job as a dancer, but was among several dancers asked by the director to read for parts. “This was the first job where I actually felt like a part of the cast,” Stecklein says.

Not that the job didn’t call for her to be on her A-game dance-wise—Stecklein recalls that dancing full-out in sky-high heels and doing chair prop work were challenging, especially in the number “Express.” However, the sexy style was right in line with Stecklein’s sensibilities. “I dance very feminine. I like to dance like a woman,” says Stecklein, who calls contemporary her favorite style. “My style melds technique with girly flavor.”

In 2011, Stecklein got another chance to sharpen her acting chops as one of Tom Cruise’s main groupies in Rock of Ages. She spent two months in Miami filming under choreographer Mia Michaels and director Adam Shankman, while also trying to put the finishing touches on her fast-approaching wedding.

That hectic pace is one that Stecklein and Anderson have become accustomed to throughout their relationship. “We both understand the crazy, late, long hours and the lack of a consistent 9-to-5 schedule,” says Stecklein. It’s rare that they have a week off to spend together, and the whirlwind doesn’t look likely to subside anytime soon. Stecklein has several Dancing with the Stars guest appearances booked, as well as parts in the upcoming films A Glimpse Inside the Mind of Charles Shawn III (starring Charlie Sheen), The Campaign (starring Will Ferrell), and David DeCoteau’s upcoming independent film Hansel and Gretel: Witch Slayers.

Yet Stecklein is confident that the two will continue forging a successful path together. “It’s really great to have someone who understands what you do,” she says. And, no doubt, to have someone who lets Stecklein stay in touch with her first love: dance.

 

Photo by Rose Eichenbaum.

 

 

Jen Jones Donatelli is an L.A.-based writer who has been published in Dance Magazine, Dance Spirit, Dance Teacher, and Pilates Style.

The Conversation
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Throughout your dancing life, you've heard the same corrections over and over. The reason for the repetition? Dancers tend to make the same errors, sometimes with catastrophic results. Dance Magazine spoke to eight teachers about what they perceive to be the worst habits—the ones that will destroy a dancer's technique—and what can be done to reverse the damage.


Rolling In

To get a 180-degree first position, dancers will sometimes let their arches roll forward. But turnout is not about forcing your feet open; it's about opening up in the hips. “Turning out is an activity, not a position," says Irene Dowd, who teaches anatomy at the Juilliard School. “If we stop sustaining that movement, our feet will passively roll in." Rolling in places stress on the tendons of the feet and leads to injury because the rest of the body compensates for the imbalance when your knees can't line up over your toes.

Dowd warns against using only the arch to combat rolling in. “Dancers will try to lift up their arches and pull up on the inside of the ankle," she says. This can result in the inflammation of the tendons in the ankle and lead to tendinitis, a painful overuse injury that's common in dancers. What she feels are “Victorian furniture feet—feet that aren't fully in contact with the ground" should be solid in three areas: the heel, the ball of the big toe, and the ball of the little toe. Imagine how your weight is being transferred from above, through the body and down the legs, rather than gripping the foot and lifting from the arch.

Misaligning the Spine

Distorting the back, either by crunching the lumbar vertebrae and splaying the rib cage open or by hunching the shoulders forward and tucking the pelvis under, affects every other part of the body. Since the proper placement of the torso is the foundation of any movement, a dancer with a misaligned spine will develop other deadly technique sins. Problems can ripple all the way down to the extremities and upward to the neck and head. The core will be loose, unable to provide essential support. A pelvis that either tips back or tucks under will limit the range of motion in the hips.

Christine Spizzo's students at the North Carolina School of the Arts constantly work on their placement. “The one directive I give in class more than any other," she says, “is tailbone down, navel muscles lifted." She emphasizes that the tailbone lengthens downward without tucking under, and the navel muscles lift upward, not inward. This opposition allows the external rotator muscles to be actively engaged at the top of the thigh. Spizzo uses the expression the Four Ts—“no tucking, tipping, tilting, or twisting of the pelvis"—as a reminder for students.

Clenching the Toes

Clenching, curling, knuckling—no matter what it's called, this condition hampers a dancer's ability to articulate the feet. Clenched toes also make the feet an unstable platform to stand on, creating problems for the rest of the body. The muscles and tendons of the foot, knee, and ankle must work together to perform a relevé or jump, says Edward Ellison, director of Ellison Ballet Professional Training Program in New York. Clenched toes will place unwanted stress on the joints of the legs, leading to imbalance and overuse injuries. On pointe, knuckling over can damage the bones and tendons of the feet.

Master ballet teacher Sara Neece of Ballet Arts in New York says that when the first joint of the toe presses down into the floor too hard, the second joint of the toe jams into the metatarsal. For Neece, the key to remedying clenched toes lies in “bringing sensation to those unused tendons" beneath the second joint, and teaching the toes how to work in a careful and deliberate manner. While seated, a dancer should prick the back of each clenched toe with a fingernail about 20 times. Sitting on a chair with the foot on the ground, she should drag it back toward the body, slowly raising it to demi-pointe with a forced arch. Teachers must pay attention to the response of the feet to this localized work, since overstressing the tendons can damage them. Another way to teach the toes to stretch out is to weave a strip of cloth over the second toe and alternate below and above successive toes, leaving it there during barrework and nondance activities.

Giving In to Extreme Hyperextension

Hyperextended legs, in which the straightened knee naturally curves behind the thigh and calf muscles, are prized in the world of extreme ballet bodies. Christine Spizzo sings the praise of a moderately hyperextended leg line, as the leg fits snugly in fifth position, and the arabesque looks gorgeous, with that slight curve offsetting the arch of the foot. However, dancers with extreme hyperextension must take special care. “The hyperextended dancer tends to have weak external rotator muscles," she says, so the legs are more prone to collapse in on themselves when landing from a jump, letting the body weight fall on the knees. This can result in damage to the joints that maintain the alignment of the leg, including twisted knees and sprained ankles. Even if the dancer understands how to avoid giving in to her hyperextension, she has to learn how to express herself fully while restraining her legs.

But Spizzo points to dancers such as international star Sylvie Guillem, who has used her extreme hyperextension to her advantage. The dancer must think of lengthening rather than straightening or locking the knee, even if it feels slightly bent. She must develop a heightened awareness of the turnout muscles from the top of the thigh down to the calf. “The muscles must be activated to not allow the dancer to give in to the hyperextension," says Spizzo. She uses the image of the barbershop pole to encourage dancers to apply that feeling of an infinite spiral to their legs. Somatic practices such as Pilates can help to strengthen those stabilizing turnout muscles. Spizzo insists that dancers stand with the heels together in first position and never be allowed to press back into that knee joint. To do this, “the quadriceps must remain soft. As soon as you grip, it pulls that kneecap back dangerously."

Using Unnecessary Tension

“Tension," says Daniel Lewis, dean of dance at the New World School of the Arts, “pulls you off balance. It tightens the muscles and causes injury." Stiff muscles are injury-prone muscles, which make free and confident movement impossible.

Unwanted stiffness can also limit your versatility as a dancer. “Modern dance is concerned with trying to go into space off-center and off-balance," says Mary Cochran, chair of the dance department at Barnard College. “If you spend too much time holding your body stiffly, it's hard to make the transition from working in-balance to working off-balance."

Rhythmic breathing helps dissipate tension. Think of the lungs as another limb and pace the breath with the dynamics of the music. Sustain a sense of motion in the body, even when you are still, advises Cochran. Doing so will help reverse the muscle memory of using tension as a form of stability.

Pinching Your Shoulder Blades

Although used as a strategy to open the chest in front, pinching your shoulder blades together immobilizes the back. The serratus anterior on the sides of your rib cage is so overstretched that it can't work. Edward Ellison says that pinched shoulder blades impede the freedom of the arms and the support of the upper spine. He feels that they “cause your weight to fall behind your axis, and strain the trapezius and rhomboid muscles of the back."

Irene Dowd suggests thinking about widening the tips of the shoulders to the side, to allow plenty of room for the chest. “It helps to think about the chest—full of your lungs, your heart, all those organs—as a sphere," says Dowd. “We need to have enough room for all those precious organs to breathe." To relax shoulder blades, sometimes she will tell students to focus on the movement of the hands. “Is the hand really a lively part of my being?" Dowd has her students ask. “The shoulder blade should support that hand."

Getting Stuck in a Rut

While physical habits impede progress, the deadliest sin is losing the drive to improve technique at all. Franco De Vita, principal of American Ballet Theatre's Jacqueline Kennedy Onassis School, says good technique begins with a dancer's approach to class. Being present and focused enables the dancer to learn combinations quickly—and correctly. “Not listening and changing the exercise is unacceptable," says De Vita.

Michael Vernon, chair of the ballet department at Indiana University, feels the worst thing a dancer can do “is to get fixed into doing something a certain way, being safe. I love young dancers who understand that you have to dance for tomorrow, and not yesterday." Keeping an open mind means more than just trying a different preparation for a pirouette. “Being open to new styles of dance and new ways of moving the body is vital to keeping the art relevant."

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"When I started out, I wanted to be a Fred Astaire," he told us, "and after that a Jerome Robbins. But then I realized there was always somebody a dancer or choreographer had to take orders from. So I decided I wanted to become a director, namely a George Abbott. But as I got older I dropped the hero-worship thing. I didn't want to emulate anyone. Just wanted to do the things I was capable of doing—and have some fun doing them. By this time I'm glad I didn't turn out to be an Astaire, a Robbins or an Abbott." He would go on to become an Academy Award–winning director, indelibly changing musical theater in the process.

The Creative Process
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Health & Body
Leon Liu/Unsplash

Let's say that today you're having a terrible time following your class's choreography and are feeling ashamed—you're always stumbling a few beats behind. Do you:

1. Admit it's your fault because you didn't study the steps last night? Tonight you'll nail them down.
2. Feel worthless and alone? You slump your shoulders, avoid eye contact with your teacher and fellow dancers, and wish to disappear.

Shame is a natural emotion that everyone occasionally feels. If you answered #1, it may be appropriate—you earned it by not studying—and positive if it motivates you to do better in the future.

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My hypermobility used to cause me a lot of trouble, but I've gained confidence and strength after reading about it in one of your columns. I now have a Pilates instructor who's retraining my body and helping me dance in a consistent way. Thank you!

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