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."

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Career Advice
Evan McKie with Tanya Howard rehearsing Genus. Photo by Karolina Kuras

As a kid, I often had trouble getting any words out the way I really wanted to. I developed a fantasy where I could find each character from each story I read within myself, and use them to communicate. I was always "Evan," but embodying different characters broadened the way I could connect with people. I felt that each character was like an instrument and that communicating effectively required the whole orchestra.

Then, when I was 8, I saw John Cranko's Onegin. I hadn't known that dance could develop characters in a way that would resonate so strongly. It was the first ballet that made me want to dive into this life of expressing the human condition through the body. The role of Onegin ended up following me through my career, and it taught me to rely on my humanness.

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