The (Non-Dancer) Husbands and Wives Who Swept Dancers Off Their Feet
Considering the demands of a career in dance, it isn't surprising that many professionals find romance in the rehearsal studio. With taxing schedules, perfectionist tendencies and quirky habits, it can be challenging to find true love outside of the art form. We spoke with three non-dancer spouses to hear what it's like sharing their life with professionals from ballet to Broadway.
The Musician Husband, Christopher Dale Ryan
Allison Walsh with husband Christopher Dale Ryan. Photo by Ed Israel, Courtesy Ryan.
Profession: Bassist in the band Deer Tick
Who he's married to: Allison Walsh, who danced with The Joffrey Ballet before breaking into Broadway as an original cast member in An American in Paris. Since transitioning to musical theater, Walsh has created the roles of Odette/Olga Romanov in Anastasia and headlined as Lise Dassin in the first national tour of An American in Paris.
Length of relationship: 9 years together, 1 year married
How they met: "Our best friends dated while at Hampshire College," says Ryan. "We met while visiting them. Though, it took four years for us to become friends, and several more to start dating."
Seeing his wife's performances: "I attend as many as possible. Ballet and Broadway are pretty stingy with comp tickets, and I could spend my entire income on going to see Allison perform. But I have been known to put on legwarmers and sneak through the stage door to watch Allison dance from the back of the house."
Staying connected when they're both on tour: "We talk on the phone when we can. We have negotiated long-distance logistics since the beginning of our relationship, but it was hardest this past year when we were both on the road for 10 months. We had to work extra hard to make sure we were communicating and checking how one another was doing."
Getting to the pointe: "I've grown to love helping her sew pointe shoes by picking out the threads in reused ribbons."
Handling "dancer speak" at social events: "I follow it like a tennis match, bouncing from face to face, trying to absorb and keep up with the volley words—terms, pieces, repertoires, names."
Being inspired to take dance: "After being together for several years, I realized I still didn't understand the slightest thing about dance. So, I secretly started taking adult ballet classes at Mark Morris Dance Center. It helps me to think about how I carry myself onstage."
The Yogi-Cop Wife, Colleen Quinn
From walking the beat to the Broadway beat, Colleen Quinn (left) and Stephanie Klemons. Photo courtesy Quinn.
Profession: Police officer and yoga instructor
Who she's married to: Stephanie Klemons, an award-winning Broadway performer and choreographer. Klemons currently serves as associate choreographer and global dance supervisor for Hamilton. Other credits include working as associate choreographer and dance captain on Broadway and pre-Broadway productions of Bring It On, In The Heights, and If/Then.
Length of relationship: 5 years together, 1 year married
How they met: "I used to practice yoga with her best friend. When we finally met, Stephanie barely made eye contact. A year later, we were both at a party and she finally spoke to me. We hit it off right away."
Favorite dance-related memory: "The opening night party for Hamilton. We danced our faces off until 4 am. I sweat through my whole suit."
Photo by Amanda-Lee Seely, Courtesy Quinn.
Challenges of living with a dancer: "Sweaty and stinky clothes."
On how her wife supports her work: "Stephanie is always there for me no matter what. She knows my job can be difficult, stressful and sometimes traumatic, which I try not to dump on her. But she never shies away from listening."
Favorite attributes of her spouse: "Her butt. But seriously, Stephanie has a presence when she walks into a room, which is what attracted me to her in the first place. She embodies what it means to be a woman."
The Life-Saving Husband/Dad, David (DJ) Jackson Jr.
Pennsylvania Ballet's Jermel Johnson (left) and husband DJ Jackson Jr. are fathers to a boy and baby girl. Photo courtesy Jackson.
Profession: Transplant coordinator and part-time paramedic/volunteer firefighter
Who he's married to: Jermel Johnson, a principal dancer with Pennsylvania Ballet. Throughout his 16 seasons with the company, Johnson has danced leading roles in repertoire ranging from Balanchine to classical works and contemporary world premieres.
Length of relationship: 12 years together, 4 years married
How they met: "Online through Myspace."
Favorite wedding memory: "Standing in the wedding chapel, looking into each other's eyes in amazement that society has changed so much that we were able to get married in front of our friends and family."
Jermel Johnson found love on Myspace. Photo by Arian Molina Soca, Courtesy Johnson.
Odd dancer habits: "Jermel stretches 24/7. Also, many nights he sleeps on soft balls to relax his muscles."
Favorite dance-related memories: "Seeing Jermel perform for the first time and watching him win his Princess Grace Award. I'm developing new favorite memories as our son, Jaden, watches him perform. He gets excited and starts pointing and saying, 'There's Papa!' "
How life has changed since they've become a family of four: "Having two children has fulfilled the purpose in life questions. Raising our children and instilling values that will equip them to be a part of changing society is an amazing feeling. When I think about our family, I tear up. I've seen all too many times how short life can be, and I truly treasure each day I get with my family."
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.