On The Rise: Lindsey Jones
Freelancer Lindsey Jones is a study in contrasts. Her long limbs cut through the air with precision, not languor; a great physical comedian, she also carries herself with intense emotional restraint. As a company member of Dance Heginbotham, the 5' 9" dancer brings speed and specificity to his absurdist, angular moves. “It’s fascinating to see this long, tall figure moving really, really quickly,” says John Heginbotham. “She can work small and big—and not everyone can do that.”
Jones in Heginbotham's Twin. Photo by Amber Star Merkens, courtesy Dance Heginbotham
Companies: Dance Heginbotham, Pam Tanowitz Dance
Hometown: St. Louis
Training: Center of Creative Arts in St. Louis, BFA from SUNY Purchase, Merce Cunningham Trust’s Professional Training Program
Early experience: “I fell in love with tap first, at about 9. I was obsessed. The rhythms really spoke to me. My sister and I would tap on the street for money. We made a couple hundred bucks. I think $30 an hour was our average.”
Breakout moment: When Heginbotham came to SUNY Purchase to set a work on its dancers, she asked him to choreograph her senior project. When he agreed, “it was a huge validation,” she says. Heginbotham, who was still dancing for Mark Morris at the time, was so pleased with the resulting solo, he wound up expanding it into a larger work, Twin—his debut piece at New York City’s Baryshnikov Arts Center.
Intellectual approach: Jones describes herself as a sporty kid and “wild child,” but chose dance because of its cerebral challenge. “I was so bored when I played sports,” she says. “Dancing was harder—you were using both your mind and your body.”
Freelance challenges: Jones also dances for Pam Tanowitz Dance, restages Merce Cunningham work and juggles a variety of other projects. “I have to be my own best boss, do all the scheduling,” she says. “They don’t teach you that in school.” But the mix has helped her become a better dancer, she says. “I love the work I’m doing, and the different people I’ve had opportunities to work with. It’s always a growing experience.”
Inside a bustling television studio in Los Angeles, Lindsay Arnold Cusick hears the words "Five minutes to showtime." While dancers and celebrities covered head to toe in sequins whirl around preparing for their live performances on "Dancing with the Stars," Cusick pauses to say a prayer to God and express her gratitude.
"I know that it's not a given, and I'm grateful for the opportunity to do what I love for a living," says Cusick, a member of The Church of Jesus Christ of Latter-day Saints. For her, prayer is a ritualized expression of her faith that she has maintained since she was a girl in Provo, Utah. Even with her seven-plus years of industry experience, she always takes a moment to steady herself and close her prayer in Christ's name before rushing onto the stage.
The hotly-debated Michael Jackson biomusical is back on. Not that it was ever officially off, but after its pre-Broadway Chicago run was canceled in February, its future seemed shaky.
Now, the show has secured a Broadway theater, with previews starting July 6 at the Neil Simon Theater.
In the October 1969 issue of Dance Magazine, we spoke with Jacques d'Amboise, then 20 years into his career with New York City Ballet. Though he became a principal dancer in 1953, the star admitted that it hadn't all been smooth sailing.
These days, social media is an essential tool for dance companies looking to promote their work. Karole Armitage's company, Armitage Gone! Dance, recently posted ads for their upcoming show at New York Live Arts, You Took A Part Of Me, a "mysterious and hypnotic display of erotic entanglement and unresolved attachment" inspired by traditional Japanese Noh drama.