Why Companies Are Increasingly Opting For Shared, Collaborative Programs
In what seems to be a growing trend, regional companies are coming together to share stages and expand their audiences. These team-ups often go beyond split bills, with companies swapping choreographers and performing at least one joint work. While the logistics of co-presentations can be complicated—with more dancers to schedule, budgets to balance and creative visions to blend—the benefits can range from bigger box-office returns to lasting relationships for the artists.
In 2017, Pittsburgh Ballet Theatre and Dance Theatre of Harlem came together for a shared program at the August Wilson Center for African American Culture in Pittsburgh. "We got great feedback from the audience and I knew it was a good thing," says Terrence Orr, artistic director of PBT. The joint production was such a success, they're at it again this spring.
At the Cowles Center in Minneapolis, an initiative called MERGE, begun in 2016, has been partnering up local dance companies to help their dedicated audiences grow beyond their comfort zones. "We present 12 dance companies a year, so we are able to look for opportunities where we might cross-pollinate, say finding tap dancers who work well with breakers," says Andrew Dolan, manager of advancement for the Cowles Center.
"Sure, the financials are complicated and require foundations and sponsors," says Orr, "but there are a thousand reasons to do it and they are all good." For the artists, these team-ups are an opportunity to experience new perspectives and creative processes in the studio. For Pittsburgh audiences, the DTH and PBT shared program was a chance to see more dancers of color onstage with their home company.
"We want to meet a dance patron where they are at and then introduce them to even more," says Dolan.
Collaborations to Keep an Eye Out for This Month
"Made in Chicago" 312 Series
Hubbard Street Dance Chicago in Robyn Mineko Williams' Cloudline
Todd Rosenberg, Courtesy Auditorium Theatre
Hubbard Street Dance Chicago and Malpaso Dance Company share the stage in this series at the Auditorium Theatre. In addition to a collaborative work, Hubbard Street will perform a piece from Malpaso artistic director Osnel Delgado, and Malpaso will dance a premiere by Hubbard regular Robyn Mineko Williams. March 2–3.
BRKFST Dance Company
Bill Cameron, Courtesy Cowles Center
BRKFST Dance Company, a troupe that works on the edges of break dancing, martial arts and contemporary dance, will take part in a collaborative evening at the Cowles Center in Minneapolis with tap company Kaleena Miller Dance. March 8–10.
Tour de Force
Allen Birnbach, Courtesy Colorado Ballet
Colorado Ballet teams up with fellow Denver-based companies Cleo Parker Robinson Dance and Wonderbound in new works by Robinson and Wonderbound's Garrett Ammon created especially for this program. March 8–10, Ellie Caulkins Opera House.
Pittsburgh Ballet Theatre + Dance Theatre of Harlem
Duane Rieder, Courtesy PBT
This mixed rep features signature works from both companies and a collaborative staging of Stanton Welch's Orange. March 15–24, August Wilson Center.
- Hubbard Street/Malpaso Dance | 2018-19 Season | Auditorium ... ›
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- Hubbard Street Dance Chicago / Malpaso Dance Company | ›
- Sharing the stage: PBT teams with Dance Theatre of Harlem ... ›
- Pittsburgh Ballet Theatre + Dance Theatre of Harlem ›
- Tour de Force — Wonderbound ›
- Tour de Force ›
- Calendar & Tickets | The Cowles Center ›
- BRKFST Dance Company & Kaleena Miller Dance | The Cowles ... ›
- "Made in Chicago" Dance Series | See Chicago Dance ›
- The Auditorium Theatre's 'Made in Chicago' series highlights some ... ›
Capezio, Bloch, So Dança, Gaynor Minden.
At the top of the line, dancers have plenty of quality footwear options to choose from, and in most metropolitan areas, stores to go try them on. But for many of North America's most economically disadvantaged dance students, there has often been just one option for purchasing footwear in person: Payless ShoeSource.
When Sonya Tayeh saw Moulin Rouge! for the first time, on opening night at a movie theater in Detroit, she remembers not only being inspired by the story, but noticing the way it was filmed.
"What struck me the most was the pace, and the erratic feeling it had," she says. The camera's quick shifts and angles reminded her of bodies in motion. "I was like, 'What is this movie? This is so insane and marvelous and excessive,' " she says. "And excessive is I think how I approach dance. I enjoy the challenge of swiftness, and the pushing of the body. I love piling on a lot of vocabulary and seeing what comes out."
Back when Robbie Fairchild graced the cover of the May 2018 issue of Dance Magazine, he mentioned an idea for a short dance film he was toying around with. That idea has now come to fruition: In This Life, starring Fairchild and directed by dance filmmaker Bat-Sheva Guez, is being screened at this year's Dance on Camera Festival.
While the film itself covers heavy material—specifically, how we deal with grief and loss—the making of it was anything but: "It was really weird to have so much fun filming a piece about grief!" Fairchild laughs. We caught up with him, Guez and Christopher Wheeldon (one of In This Life's five choreographers) to find out what went into creating the 11-minute short film.
When Hollywood needs to build a fantasy world populated with extraordinary creatures, they call Terry Notary.
The former gymnast and circus performer got his start in film in 2000 when Ron Howard asked him to teach the actors how to move like Whos for How the Grinch Stole Christmas. Notary has since served as a movement choreographer, stunt coordinator and performer via motion capture technology for everything from the Planet of the Apes series to The Hobbit trilogy, Avatar, Avengers: Endgame and this summer's The Lion King.
Since opening the Industry Dance Academy with his wife, Rhonda, and partners Maia and Richard Suckle, Notary also offers movement workshops for actors in Los Angeles.