We’re seeing the excitement mount for the Tonys, but for dancers, the Fred and Adele Astaire Awards are just as major. These awards have honored dancers and choreographers in Broadway musicals since 1982, but get very little media attention. As a member of the Astaire Awards committee, I try to see nearly all the new musicals each season. Here is my wrap-up of the Astaire nominations, just announced last week.
Right: Karine Plantadit in After Midnight. Photo by Matthew Murphy.
So has Neil Patrick Harris for Hedwig and the Angry Inch; James Monroe Iglehart as the jazzy genie in Aladdin; heavy-hearted, light-on-his-feet Andy Karl as Rocky; and Karen Ziemba as the hyper puppy-carrying actress in Bullets Over Broadway. Too bad Sarrah Strimel didn’t get enough nominations to make the list; I thought she slithered through Stroman’s Big Fish with big style.
In terms of Outstanding Choreographer, there’s a lot to choose from. Yes, Carlyle skillfully mixes different genres in After Midnight and his goofy/witty “Peckin’” routine for the male ensemble is lots of fun. But Stroman’s Bullets Over Broadway has hilarious numbers; Rob Marshall’s Fosse-style choreography for Cabaret is ingeniously naughty; and Steven Hoggett and Kelly Devine’s fight choreography in Rocky throws you (or drags you) into the visceral suspense of a boxing match. I found Casey Nicholaw’s numbers for Aladdin to be more like pageantry than choreography—except for the hip-hop jiggles of jivin’ genie James Monroe Iglehart.
Above: A scene from Cabaret. Photo by Joan Marcus.
As far as Hollywood stars trekking onto the Broadway stage, my vote goes to Bullets Over Broadway's Zach Braff, who was very funny as the nebishy playwright David Shayne—and he could move. I have to say that Dulé Hill was a disappointment as the host of After Midnight. Michelle Williams’ singing and dancing are just adequate in Cabaret but she gives a nuanced performance as Sally Bowles anyway (more thoughts on her in my Stage Animal vs. Screen Animal posting). Sorry, but I haven’t seen Neil Patrick Harris in Hedwig yet.
Hive by Boston Conservatory student Alyssa Markowitz. Photo by Jim Coleman
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When you're a foreigndancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
Last year's winner: Manuel Vignoulle's EARTH. Jack Hartin Photography, Courtesy McCallum Theatre
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
Still of Fonteyn from the 1972 film I Am a Dancer. Photo courtesy DM Archives
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.
A recent trip I tookto Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.
I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.
There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.
While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?
Despite what you might think, there's no reason for dancers to be afraid of bread.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
Unity Phelan in John Wick: Chapter 3 – Parabellum. Photo by Niko Tavernise, Courtesy FRANK PR
"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.
Walsh's Moon Fate Sin at Danspace Project. Like Fame Notions, the title was derived from Yvonne Rainer's "No" manifesto. Photo by Ian Douglas, Courtesy Danspace Project
The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.