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New York City Dance Alliance’s summer intensive pushes dancers beyond their comfort zone.
When you’re heading into your final training years, there’s a lot of pressure to decide what kind of career you want and perfect that technique, be it Balanchine, Horton or hip hop. So dancers often opt for summer programs with a narrow focus. Sometimes, it pushes them to new heights; other times, it creates a one-note training bubble.
Kim Craven’s ballet class at NYCDA. Photo Courtesy NYCDA
New York City Dance Alliance takes a different approach to summer intensive study. At its two-week program during July and August in New York City, dancers study everything from ballet to tap to voice. While it offers strong training for students who want to become triple threats, it also gives them time to explore less familiar styles. “We want the dancers to have a safe place to work outside their comfort zone,” says NYCDA managing director Leah Brandon, “to discover areas of the dance world that they may not know exist or didn’t see themselves in.”
The intensive’s list of teachers echoes this idea. Last year’s staff included regular NYCDA faculty members, plus guests like Ailey II artistic director Troy Powell, Ballet Next artistic director Michele Wiles, Nederlands Dans Theater’s Jon Bond and Luis Salgado from On Your Feet!
Amanda Mitchell, a junior at Pace University’s dance program has attended the intensive four times, and still returns as an assistant. “I’ve done a lot of different programs, but NYCDA’s is so versatile,” she says. “After my first summer, going back to my studio, people were like, ‘What did you do? What changed?’ The program really sparks something new inside of you.”
Experimenting Across Levels
Most dancers who attend the program are selected at one of NYCDA’s regional conventions, though you can also submit a video online. Instead of traditional levels, the students are randomly divided into groups of about 25 which changed throughout the intensive. The theory is that all the students have strengths in different styles, and can learn from each other. “You’re dancing with people of all ages from all over the country,” says Mitchell. “And everyone has something different that they’re good at. It pushes you to be better.”
The schedule for each day varies, and the dancers don’t know what they’re in for until the night before or that morning. Usually, the day begins with either ballet, jazz or modern, followed by classical or contemporary partnering, or conditioning like Pilates or yoga. After lunch, dancers take styles like musical theater, hip hop, tap and ballroom, among others. There’s also an opportunity to hone triple threat skills through acting and voice classes. Career-oriented workshops like injury prevention, resume building and nutrition are also on the schedule.
In the evening, dancers rehearse for the end-of-program performance. Each dancer is cast in two pieces, choreographed or set by faculty and guests. Weekends are reserved for tourist activities and seeing shows around the city. Last summer, the group saw CATS on Broadway, had a Q&A session with the cast and learned choreography from the show.
The Bigger Picture
One big advantage of the NYCDA program is its close relationship with Pace University, which has one of the country’s first programs dedicated to commercial dance. Classes are held in Pace’s studios, and dancers stay in the dorms and eat at its cafeteria. “It’s like a mini college experience—a trial run,” says Brandon, who brings in reps from NYC-based college dance departments to speak. For Mitchell, the connection helped her get a spot at Pace—and a scholarship.
The intensive’s emphasis on audition prep, through mock auditions with one-on-one feedback, also helped her prepare for professional auditions. “A casting director will sit you down and walk you through your resume,” she says. “You get personal feedback about what they liked about your audition and what they didn’t, down to what you’re wearing.”
The end goal is to get students thinking about what kind of career they’d like to pursue—even if that means going down a totally different path than they thought. “Each kid leaves with a clearer idea of what they want to do and what they need to do to get there,” says Scott Jovovich, who has been teaching ballet and theater dance at NYCDA for 15 years. “I sent my own son to this program, because for me, this is the place to figure out who you want to be.”
Attendance: 100 students, split into classes of roughly 25
Timeline: Two weeks
Ages: 14 to 18
Housing: Students stay in Pace University dorms
It can be hard to focus when Alice Sheppard dances.
Her recent sold-out run of DESCENT at New York Live Arts, for instance, offered a constellation of stimulation. Onstage was a large architectural ramp with an assortment of peaks and planes. There was an intricate lighting and projection design. There was a musical score that unfolded like an epic poem. There was a live score too: the sounds of Sheppard and fellow dancer Laurel Lawson's bodies interacting with the surfaces beneath them.
And there were wheelchairs. But if you think the wheelchairs are the center of this work, you're missing something vital about what Sheppard creates.
So far, the fervor to create diversity in ballet has primarily focused on dancers. Less attention has been paid to the work that they'll encounter once they arrive.
Yet the cultivation of ballet choreographers of color (specifically black choreographers) through traditional pathways of choreographic training grounds remains virtually impossible. No matter how you slice it, we end up at the basic issues that plague the pipeline to the stage: access and privilege.
"I'm sorry, but I just can't possibly give you the amount of money you're asking for."
My heart sinks at my director's final response to my salary proposal. She insists it's not me or my work, there is just no money in the budget. My disappointment grows when handed the calendar for Grand Rapids Ballet's next season with five fewer weeks of work.
"It just...always looks better in my head."
While that might not be something any of us would want to hear from a choreographer, it's a brilliant introduction to "Off Kilter" and the odd, insecure character at its center, Milton Frank. The ballet mockumentary (think "The Office" or "Parks and Recreation," but with pointe shoes) follows Frank (dancer-turned-filmmaker Alejandro Alvarez Cadilla) as he comes back to the studio to try his hand at choreographing for the first time since a plagiarism scandal derailed his fledgling career back in the '90s.
We've been pretty excited about the series for a while, and now the wait is finally over. The first episode of the show, "The Denial," went live earlier today, and it's every bit as awkward, hilarious and relatable as we hoped.
Christopher Wheeldon is going to be giving Michael Jackson some new moves: The Royal Ballet artistic associate is bringing the King of Pop to Broadway.
The unlikely pairing was announced today by Jackson's estate. Wheeldon will serve as both director and choreographer for the new musical inspired by Michael Jackson's life, which is aiming for a 2020 Broadway opening. This will be Wheeldon's second time directing and choreographing, following 2015's Tony Award-winning An American in Paris.
Wheeldon is a surprising choice, to say the least. There are many top choreographers who worked with Jackson directly, like Wade Robson and Brian Friedman, who could have been tapped for the project. Or the production could have even hired someone who actually choreographed on Jackson when he was alive, like Buddha Stretch.
What is the right flooring system for us?
So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.
Broadway musicals have been on my mind for more than half a century. I discovered them in grade school, not in a theater but electronically. On the radio, every weeknight an otherwise boring local station would play a cast album in its entirety; on television, periodically Ed Sullivan's Sunday night variety show would feature an excerpt from the latest hit—numbers from Bye Bye Birdie, West Side Story, Camelot, Flower Drum Song.
But theater lives in the here and now, and I was in middle school when I attended my first Broadway musical, Gypsy—based, of all things, on the early life of the famed burlesque queen Gypsy Rose Lee. I didn't know who Jerome Robbins was, but I recognized genius when I saw it—kids morphing into adults as a dance number progresses, hilarious stripping routines, a pas de deux giving concrete shape to the romantic yearnings of an ugly duckling. It proved the birth of a lifelong habit, indulged for the last 18 years in the pages of this magazine. But all long runs eventually end, and it's time to say good-bye to the "On Broadway" column. It's not the last of our Broadway coverage—there's too much great work being created and performed, and you can count on hearing from me in print and online.
Let's start with the obvious: Over the weekend, Beyoncé and Jay-Z released a joint album, Everything Is Love. Bey and Jay also dropped a video for the album's lead track, which they filmed inside the actual Louvre museum in Paris (as one does, when one is a member of the Carter family). And the vid features not only thought-provoking commentary on the Western art tradition, but also some really incredible dancing.
So, who choreographed this epic? And who are the dancers bringing it to life in those already-iconic bodystockings?
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
This week, New York City's Joyce Theater presents two companies addressing LGBTQ+ issues.
When most people think of dance students, they imagine lithe children and teenagers waltzing around classrooms with their legs lifted to their ears. It doesn't often cross our minds that dance training can involve an older woman trying to build strength in her body to ward off balance issues, or a middle-aged man who didn't have the confidence to take a dance class as a boy for fear of bullying.
Anybody can begin to learn dance at any age. But it takes a particular type of teacher to share our art form with dancers who have few prospects beyond fun and fitness a few nights a week.
New York City–based dancers know Gibney. It's a performance venue, a dance company, a rehearsal space, an internship possibility—a Rubik's Cube of resources bundled into two sites at 280 and 890 Broadway. And in March of this year, Gibney (having officially dropped "Dance" from its name) announced a major expansion of its space and programming; it now operates a total of 52,000 square feet, 23 studios and five performance spaces across the two locations.
Six of those studios and one performance space are brand-new at the 280 Broadway location, along with several programs. EMERGE will commission new works by emerging choreographic voices for the resident Gibney Dance Company each year; Making Space+ is an extension of Gibney's Making Space commissioning and presenting program, focused on early-career artists. For the next three years, the Joyce Theater Foundation's artist residency programs will be run out of one of the new Gibney studios, helping to fill the gap left by the closing of the Joyce's DANY Studios in 2016.
Dancers crossing over into the fitness realm may be increasingly popular, but it was never part of French-born Julie Granger's plan. Though Granger grew up a serious ballet student, taking yoga classes on the side eventually led to a whole new career. Creating her own rules along the way, Granger shares how combining the skills she learned in ballet with certifications in yoga, barre and personal training allowed her to become her own boss (and a rising fitness influencer).