Jesse Obremski captivates as a freelancer for many NYC–based troupes. Photo by Roi Lemayh, Courtesy Gibney Dance Company
At six feet tall, Jesse Obremski dances as though he'sinvestigating each movement for the first time. His quiet transitional moments are as astounding as his long lines, bounding jumps and seamless floorwork. Add in his versatility and work ethic, and it's clear why he's an invaluable asset to New York City choreographers. Currently a freelance artist with multiple contemporary groups, including Gibney Dance Company and Limón Dance Company, Obremski also choreographs for his recently formed troupe, Obremski/Works.
Pennsylvania Ballet's Lillian DiPiazza was out with an injury when her new director started, but was eventually promoted under his leadership. Photo by Arian Molina Soca, Courtesy PAB
When news reached the Limón Dance Company that Colin Connor was replacing longtime director Carla Maxwell in 2016, the tight-knit group experienced a range of emotions. "Everyone agreed that fresh energy would be a benefit to the company," says veteran dancer Logan Kruger. But the excitement lasted only until the fear sunk in—there would be changes, and some of them might even include saying good-bye.
It's understandable to experience feelings of shock, fear and even abandonment if your director leaves. It's not just that you'll have a new boss—a shift at the top can have a domino effect on casting, programming, rehearsal structure and branding. Here's how to forge a relationship with your new director and take advantage of the opportunities that come from having fresh eyes on your dancing.
Limón Dance Company in Missa Brevis. Photo courtesy of the José Limón Dance Foundation.
Some people believe that only new dances should be supported and seen live. By extension, they question the necessity of reconstructing older works, arguing that they should remain in the vault, or saved for archival viewings.
To some extent, I see their point. Room should be made for new voices and new works.
Tracy Inman teaching Horton technique at the Ailey School. PC Eduardo Patino
In a competitive dance world where students train to conquer the next big thing, it can feel like historic modern techniques—from Graham to Horton to Cunningham—just aren't a priority. But the truth is, these styles are just as relevant today as when they were created.
University of Taipei students in José Limón's work. PC Yi-Chun Wu
Night Light with Jesse Obremski and Mark Willis, Photo by Christopher Duggan
There was something very different about the Limón Dance Company last week during their season at The Joyce Theater. It was the costuming: For a long time, women just did not expose bare legs in the modern dance land of long dresses and long tights. But seeing the Limón dancers in Kate Weare's Night Light (2014)—suddenly they looked more like today.
Night Light costumer Fritz Masten dressed the dancers in loose tops and bare legs, giving the dancers a whole new look. The choreography transformed the elegant dancers into adventurous, even confrontational beings. With those bare legs, they sliced the space and entangled their partners. The dancers were restless rather than noble, human rather than heroic.
A Ballet West audition. Photo by Jim Lafferty for Pointe
Even if you make it through to the final round of an audition, that doesn't mean that you're guaranteed a spot on the roster. Before handing out contracts, many companies also require prospective dancers to complete an interview with staff. How can you impress your potential employer with your words as much as your dancing? Three artistic directors weigh in on what matters most.