DTH rehearsing a new work by Claudia Schreier. Photo by Rachel Papo
As Dance Theatre of Harlem turns 50, Arthur Mitchell's company has proven to be just as tenacious and resilient as he was. At times it looked like it wouldn't make it. But with the spirit of the phoenix it rises again.
Every member of the Dance Theatre of Harlem family can recite co-founder Arthur Mitchell's credo, "You represent something larger than yourself." Whether consciously or not, they all move through the world accordingly. Mitchell often remarked that "I don't have no dumb dancers," and he took pride in the fact that after being at DTH, dancers could be successful in any field they entered.
PT Elizabeth Harrison works with her former company, Nashville Ballet. Photo by Martin O'Connor Photography, Courtesy Harrison
It's fall 2009, and I'm standing in Andy Blankenbuehler's midtown office where he, Lin-Manuel Miranda and others are working on their next show, Bring It On: The Musical. Already it's clear that Miranda/Blankenbuehler collaborations are just daring enough to be groundbreaking. Blankenbuehler hands me a note scribbled on a page from the script.
In that moment, I realize I've found my place in the dance world—as a writer, telling the stories of the artistic greats.
Kaleena Miller Dance. Photo by Dan Norman, Courtesy Cowles Center
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.