Technique My Way: Antonio Douthit-Boyd
In Alvin Ailey’s The River. Photo by Paul Kolnik, Courtesy AAADT.
If you’ve seen an ad or a billboard for Alvin Ailey American Dance Theater this year, chances are you’ve seen Antonio Douthit-Boyd. He’s the poster boy for the company’s North American tour, which hits seven cities this month alone. (And his picture still lingers on many New York City buses after Ailey’s past winter season.) Douthit-Boyd’s long limbs make for breathtaking photographs, but even more impressive is the way he manipulates those lines onstage.
In 10 years with the company, Douthit-Boyd’s unrivaled mix of strength and lyricism has carried him through a range of demanding works, from Ailey classics, like The River, to Robert Battle’s athletic Strange Humors and Wayne McGregor’s exhausting Chroma. But no matter the role he’s performing on any given night, each day begins the same way: in company ballet class, refining his technique.
Is there a correction that you think of daily?
When I first came to Ailey from Dance Theatre of Harlem, Judith Jamison told me to never lose my ballet past. She said to continue working on all that I was before I got to Ailey, in addition to anything new that I’d learn here. It stuck with me.
What have you been working on recently?
My port de bras. I carry a lot of tension in my shoulders and I have to keep them down and relaxed. I’m most tense in fifth position. As soon as I put my arms up I’ll hear “Put your shoulders down!” from the front of the room.
When I first started ballet, I held all positions so tightly because I was trying to make them correct. Now, I realize even static positions have life in them. I have to constantly tell myself to breathe and let my shoulders fall back into place.
Is there an image that works for you?
I love watching videos of Fernando Bujones to see how he uses his arms. His port de bras was masculine, but fluid. There was no stagnant energy. Pictures of him are always rolling through my mind.
If "Fosse/Verdon" whet your appetite for the impeccable Gwen Verdon, then Merely Marvelous: The Dancing Genius of Gwen Verdon is the three-course meal you've been craving. The new documentary—available now on Amazon for rental or purchase—dives into the life of the Tony-winning performer and silver-screen star lauded for her charismatic dancing.
Though she's perhaps most well-known today as Bob Fosse's wife and muse, that's not even half of her story. For starters, she'd already won four Tonys before they wed, making her far more famous in the public eye than he was at that point in his career. That's just one of many surprising details we learned during last night's U.S. premiere of Merely Marvelous. Believe us: You're gonna love her even more once you get to know her. Here are eight lesser-known tidbits to get you started.
Every dancer knows that how you fuel your body affects how you feel in the studio. Of course, while breakfast is no more magical than any other meal (despite the enduring myth that it's the most important one of the day), showing up to class hangry is a recipe for unproductive studio time.
So what do your favorite dancers eat in the morning to set themselves up for a busy rehearsal or performance day?
When it comes to dance in the U.S., companies in the South often find themselves overlooked—sometimes even by the presenters in their own backyard. That's where South Arts comes in. This year, the regional nonprofit launched Momentum, an initiative that will provide professional development, mentorship, touring grants and residencies to five Southern dance companies.
You ever just wish that Kenneth MacMillan's iconic production of Romeo and Juliet could have a beautiful love child with the 1968 film starring Olivia Hussey? (No, not Baz Luhrmann's version. We are purists here.)
Wish granted: Today, the trailer for a new film called Romeo and Juliet: Beyond Words was released, featuring MacMillan's choreography and with what looks like all the cinematic glamour we could ever dream of: