The Creative Process
Arlene Shuler is currently prepping for City Center's 75th anniversary celebration. Photo by Stephanie Berger, courtesy City Center

When Arlene Shuler performed at New York City Center as a young Joffrey Ballet dancer, she never imagined that she would someday become the theater's president and chief executive officer.

After a short dance career—four years with The Joffrey—she decided she wanted to experience college. That led to law school, and, eventually, arts administration.

With this mixed background, Shuler, who came to City Center in 2003, has redefined the venue. Her biggest accomplishment is the popular Fall for Dance Festival, a mixed bill of performances at $15 a pop. As the theater prepares to celebrate its 75th-anniversary season, Shuler is looking to keep building the City Center brand with new commissions and expanded audiences.

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Dance on Broadway
India Bolds has been in The Lion King for five years. Photo by Jim Lafferty

As an ensemble dancer in The Lion King, India Bolds, age 32, plays nine characters in every show, eight times a week. That's a lot of entrances and exits, costume changes and choreography to remember. But after five years of dancing in the production, she has the show down pat.

Dance Magazine followed her through a performance day to see what it takes to be in Broadway's third-longest-running production.

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Popular
An SFB ballet master spills on the most common mistakes she sees. Here, SFB in Sleeping Beauty, Photo by Erik Tomasson.

When conveying a story onstage, portraying a character convincingly is just as important as nailing the steps. But that's often easier said than done. We talked to Anita Paciotti, ballet master at San Francisco Ballet, about the biggest acting mistakes she sees dancers making:

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Career Advice
Urban Bush Women in Jawole Willa Jo Zollar's Walking With 'Trane. Photo by Julieta Cervantes

While some companies thrive on uniformity of style and attack, the dancers of Jawole Willa Jo Zollar's Urban Bush Women find strength in the very opposite: Her movement is human, with an aesthetic that makes the choreography appear to be improvised. That's been a foundation of Zollar's work since she started UBW in 1984.

Three Bessie Awards and two Doris Duke Awards later, Zollar has also created work for companies like Alvin Ailey American Dance Theater and Philadanco. Given her desire for all her dancers to share their voices, it's no surprise that many former UBW members have gone on to make accom­plished work of their own.

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