Dancers Trending

How SFB's Joseph Walsh Does Performance Prep

PC Erik Tomasson

Right after Joseph Walsh joined San Francisco Ballet as a soloist, the company went on a grueling three week tour where they performed 20 ballets. Originally, Walsh was only cast in one. But he ended up dancing 10. A few months later, he was promoted to principal.

Clearly, Walsh knows how to shine in difficult performing situations. Taking on unexpected challenges requires a carefully planned show prep routine—which we learned is another area where Walsh excels.


In the latest episode of our video series, "Behind the Curtain," we tag along Walsh during a program in Los Angeles this fall. The Celebrate Forsythe event brought together SFB, Houston Ballet and Pacific Northwest Ballet dancers to perform three works by legendary choreographer William Forsythe.

Hanging out with Walsh for a day is like getting a lesson in smart pre-show prep. Here's what we learned from him:

Morning Class Approach

"Today is exciting because we get to see how people take class with their own director," Walsh says about the class taught by PNB director Peter Boal. "I'm excited to see how he gets his dancers prepared for the day, and at the same time I'm just trying to center myself before the show."

(This part of the episode is also a fun game of "Spot Your Favorite Dancer"—I found Maria Kochetkova and Angelica Generosa taking barre among many other stars from the three companies.)

We should all strive towards a dual focus like Walsh's. He manages to think about both learning from the new director and dancers around him and using class to ground his body and mind for the day ahead.

Nerve-Beating Strategy

Even the most distinguished pros get nerves. And everyone has a different way of tackling the pre-show jitters. Walsh's strategy is inspired by nature—and Michael Phelps: "There's a tactic that one of my friends told me about," Walsh says. "When you see a gazelle getting attacked by a gator, it gets out of the way. It kinda goes off to the side and it shakes itself really quickly. And it's this release of adrenaline." He refers to this pre-show shake off as the "Michael Phelps routine."

Attitude of Gratitude

Before joining SFB three years ago, Walsh danced for Houston Ballet for seven seasons. "I loved my time there. [HB artistic director] Stanton Welch gave me so many opportunities," Walsh says. "I can't express my gratitude enough for what they've given me."

Walsh's appreciative mindset and warmness toward his old company eases a potentially stressful day and makes a collaborative program like this one all the more enjoyable.

Forsythe Inspiration

Rather than being intimidated by the fact that Forsythe was there to watch Walsh perform Pas/Parts 2016, Walsh used the choreographer's presence as fuel. "I feel comfort when he's here because I know that he's hoping we're pushing ourselves beyond what we're capable of," Walsh says. "If you mess up, you mess up. He only cares that you're trying your hardest."

Focus on Fun

The biggest takeaway from Walsh's performance day approach is his focus on enjoying himself. "Onstage, I feel joy," he says. "If William Forsythe came up to me after the show, I hope he would just say, 'It looks like you had a lot of fun'."

Watch the episode here.

Get more Dance Magazine.

The Conversation
Dance Training
Courtesy CalArts

Four years of lectures, exams and classes can feel like a lifetime for college dancers who have their sights set on performing. So when a professional opportunity comes knocking, it can be tempting to step away from your academics. But there are a few things to consider before putting your education on hold.

Keep reading... Show less
Hive by Boston Conservatory student Alyssa Markowitz. Photo by Jim Coleman

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.

Keep reading... Show less
Career Advice
LA Dance Project. Photo by Jonathan Potter, courtesy LADP

We've all been there: You see the craziest/most beautiful/oddest/wildest clip of a dance on Facebook and you simply have to see more.

But do you actually get yourself to the theater and sit through a 90-minute performance? The consensus, at this point, typically seems to be: No.

There is no clear correlation between a company's social media campaigns and how many seats they fill in the theater. That doesn't mean social media isn't, of course, vital. It simply means that "social media campaigns operating without other marketing campaigns don't cut it," says Rob Bailis, associate director of Cal Performances at UC Berkeley. "But campaigns without social media are far worse off."

Keep reading... Show less
Dance in Pop Culture
Carlos Acosta in a still from Yuli. Photo by Denise Guerra, Courtesy Janet Stapleton

Since the project was first announced toward the end of 2017, we've been extremely curious about Yuli. The film, based on Carlos Acosta's memoir No Way Home, promised as much dancing as biography, with Acosta appearing as himself and dance sequences featuring his eponymous Cuba-based company Acosta Danza. Add in filmmaking power couple Icíar Bollaín (director) and Paul Laverty (screenwriter), and you have a recipe for a dance film unlike anything else we've seen recently.

Keep reading... Show less
Sponsored by McCallum Theatre
Last year's winner: Manuel Vignoulle's EARTH. Jack Hartin Photography, Courtesy McCallum Theatre

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.

Keep reading... Show less
News
Ramasar and Catazaro, photos via Instagram

One of the country's top arbitrators has decided to reinstate Amar Ramasar and Zachary Catazaro to New York City Ballet. The former principals were fired last fall for "inappropriate communications," namely graphic text messages.

The dancers' union, American Guild of Musical Artists, fought the termination, arguing that the firings were unjust since they related entirely to non-work activity. After a careful review of the facts, an independent arbitrator determined that while the company was justified in disciplining the two men, suspension was the appropriate action and termination took it too far.

Keep reading... Show less
Rant & Rave
Pittsburgh Ballet Theatre in Fancy Free. Photo via pbt.org

A woman passes three men in the street. The men pursue her. They thrust their pelvises at her. They continue to pursue her after she slaps one's hand and walks away. They surround her. She glances around at them in alarm. One snatches her purse (to review the Freudian significance of purses, click here) and saunters off with it, mocking her. She tries to take the purse back, and the three men toss it over her head among each other. They make her dance with them. Each time she indicates "No," the men try harder to force her submission to their advances.

This is all within the first 10 minutes of Jerome Robbins's Fancy Free, a 1944 ballet about three sailors frolicking on shore leave during World War II, beloved by many and still regularly performed (especially during the last year, since 2018 was the centennial celebration of Robbins's birth). Critic Edwin Denby, after the premiere with Ballet Theatre, called it "a remarkable comedy piece" and "a direct, manly piece."

Keep reading... Show less
What Dancers Eat
Courtesy Bloc Talent Agency

When you're bouncing between hotel rooms without access to a kitchen, eating a pescatarian diet can be challenging. Stephanie Mincone, who most recently traveled the globe with Taylor Swift's Reputation Stadium Tour, told Dance Magazine how she does it—while fueling herself with enough energy to perform for thousands of Taylor fans.

Keep reading... Show less
Dancers Trending
Hamrick rehearsing Port Rouge in St. Petersburg. Photo courtesy Hamrick

Choosing music for your first-ever choreography commission can feel daunting enough. But when you're asked to create a ballet using the vast discography of the Rolling Stones—and you happen to be dating Stones frontman Mick Jagger—the stakes are even higher.

So it's understandable that as of Monday, American Ballet Theatre corps de ballet dancer Melanie Hamrick, whose Port Rouge will have its U.S. premiere tonight at the Youth America Grand Prix gala, was still torn about which songs to include.

Keep reading... Show less
Advice for Dancers
Photo by freestocks.org/Unsplash

What is an acceptable request from a choreographer in terms of nudity? On the first day of shooting All That Jazz in the 1970s, Bob Fosse asked us men to remove everything but our jock straps and the women to remove their tops. His rationale was to shock us in order to build character, and it felt disloyal to refuse. Would this behavior be considered okay today?

—Anonymous

Keep reading... Show less
Career Advice
Stephen Mills' Grimm Tales, which premiered last month, is the first ballet funded by the Butler New Choreography Endowment. Photo by Anne Marie Bloodgood, Courtesy Ballet Austin

As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.

So where can companies find the money?

Keep reading... Show less
Dance History
Merce Cunningham in his Changeling (1957). Photo courtesy DM Archives

Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.

Courtesy DM Archives

Dance in Pop Culture
Courtesy MPRM Communications

A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.

But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."

Keep reading... Show less
Rant & Rave
Social media validates extremes over clean, solid technique. Photo by David Hofmann/Unsplash

The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."

My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.

This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?

Keep reading... Show less
Cover Story
Courtesy Khoreva

The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?

Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.

Keep reading... Show less
Health & Body
Getty Images

As more states legalize cannabis, it seems the sales pitch for cannabidiol—or CBD—gets broader and broader. A quick internet search turns up claims that CBD helps with pain, depression, acne, arthritis, anxiety, insomnia, heart disease, post-traumatic stress, epilepsy and cancer. But the marketplace is unregulated, which makes it tricky to find out what CBD actually does.

Keep reading... Show less
News
A 1952 photograph of Merce Cunningham in Sixteen Dances for Soloist and Company of Three. Photo by Gerda Peterich, Courtesy Blake Zidell & Associates

One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.

This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.

The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.

Keep reading... Show less
The Creative Process
George Balanchine's Don Quixote. Photo by Martha Swope ©The New York Public Library for the Performing Arts

When George Balanchine's full-length Don Quixote premiered in 1965, critics and audiences alike viewed the ballet as a failure. Elaborate scenery and costumes framed mawkish mime passages, like one in which the ballerina washed the Don's feet and dried them with her hair. Its revival in 2005 by Suzanne Farrell, the ballerina on whom it was made and to whom Balanchine left the work, did little to alter its reputation.

Yet at New York City Center's Balanchine festival last fall, some regretted its absence.

"I'd want to see Balanchine's Don Quixote," says Apollinaire Scherr, dance critic for the Financial Times. "It was a labor of love on his part, and a love letter as well. And you want to know what that looks like in his work."

Even great choreographers make mistakes. Sometimes they fail on a grand scale, like Don Quixote; other times it may be a minor misstep. Experiment and risk help choreographers grow, but what happens when a choreographer of stature misfires? Should the work remain in the repertory? And what about a work that fails on some levels but not others?

Keep reading... Show less
News
Sarah Lane will perform in one of the "You Are Us" benefit concerts. Photo by Erin Baiano, Courtesy ABT

After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.

Keep reading... Show less
News
Malpaso Dance Company in Cunningham's Fielding Sixes. Photo by Nir Ariel, Courtesy Richard Kornberg & Associates

Throughout 2019, the Merce Cunningham Trust continues a global celebration that will be one of the largest tributes to a dance artist ever. Under the umbrella of the Merce Cunningham Centennial are classes and workshops, film screenings and festivals, art exhibitions and symposia, and revivals and premieres of original works inspired by the dancemaker's ideas. The fever peaks on April 16, which would have been the pioneering choreographer's 100th birthday, with Night of 100 Solos: A Centennial Event, featuring a total of 75 dancers in three performances live-streamed from London, Los Angeles and New York City.

Keep reading... Show less
Career Advice
Tan Li Min working with Queensland Ballet dancer Lou Spichtig. Photo by Jovian Lim, Courtesy Cloud & Victory

Cloud & Victory gets dancers. The dancewear brand's social media drools over Roberto Bolle's abs, sets classical variations to Beyoncé and moans over Mondays and long adagios. And it all comes from the mind of founder Tan Li Min, the boss lady who takes on everything from designs to inventory to shipping orders.

Known simply (and affectionately) to the brand's 41K Instagram followers as Min, she's used her wry, winking sense of humor to give the Singapore-based C&V international cachet.

She recently spoke with Dance Magazine about building the brand, overcoming insecurity and using pizza as inspiration.

Keep reading... Show less
News
Alia Kache in rehearsal with Ballet Memphis. Photo by Louis Tucker, Courtesy Ballet Memphis

The Ballet Memphis New American Dance Residency, which welcomes selected choreographers for its inaugural iteration next week, goes a step beyond granting space, time and dancers for the development of new work.

Keep reading... Show less

mailbox

Get Dance Magazine in your inbox