Growing up, Leah Ives always enjoyed preparing food—especially after-school snacks. So now, while she cooks to fuel her work with the Trisha Brown Dance Company, she always wants it to be "free-form in a casual, no-pressure way," she says.
That means she preps and eats whatever her body calls for. "I've gone through phases of cleanses and diets," she says. "But that can take the pleasure out of eating. And it doesn't feel nourishing to me. Now, I listen to my body."
Leah Ives with Marc Crousillat. Photo by Stephanie Berger
Elena d'Amario approaches every chance to perform as though a judge on a TV show were urging her to "dance for your life." Her movement explodes past the expanse of her skin, her face alive and passionate with every fearless battement, breathy swing and fluid undulation. So it was little surprise when the lively native of Pescara, Italy, landed a job with Parsons Dance through a popular Italian TV talent competition in 2010.
But it turns out that the secret behind her extraordinary power onstage is thoughtful, simple work on her body. During daily company class—a Parsons-style ballet warm-up—d'Amario starts barre by focusing closely on her back and core. In the center, she shifts her attention to energetic intention. "Each shape should be a statement of energy," she says. "Then, in jumps, which we do so much of, I work toward that lovely silent landing."
To handle all the jumps in Parsons' rep, d'Amario keeps her core strong and her IT bands loose. PC Lois Greenfield, Courtesy Parsons.
Whenever she has downtime throughout the rehearsal day, d'Amario performs crunches in various positions to keep her core ready to control her long limbs. She also uses a ball to roll out the tense spots of her hips or hamstrings, since healthy IT bands keep her knees safe for the deluge of jumping.
D'Amario finds this preventative and proactive approach keeps her body healthy. “Throughout the second season, I had pain in my knee, but I made a huge mistake and ignored it," she says. “I would roll out my IT band and leave it at that. But on the last day of work, I went to jump in class, and I felt something 'flip.' It was my meniscus."
She was fortunate to recover relatively quickly by working carefully with her physical therapist. “At first, she would just bend and straighten my knee, which was so painful," d'Amario remembers. “Two weeks later, we started flexing my foot and just lifting my leg 15 times." Soon, she added a Thera-Band for resistance, and, eventually, small ankle weights. Now, even though she's recovered, d'Amario continues to practice the same exercises every morning, making sure to fortify all the muscles around her knees. “It's elementary, but sometimes to gain muscle back, you have to just go slowly and carefully."
Broadway dancer Jonalyn Saxer is a dazzling juxtaposition of old and new. Onstage, her taps echo with the zing of traditional hoofing, while her long lines, playful hip-hop hits, comedic timing and stellar voice deliver what’s expected of a contemporary triple threat. A favorite of choreographers, her versatile skill set got her cast in her third Broadway show: Holiday Inn, the New Irving Berlin Musical, a feel-good tale about trading the big city for the country.
Saxer (center) in Holiday Inn’s showstopping tap-dance-meets-jump-rope number. PC Joan Marcus, Courtesy Polk & Co
Broadway shows: Currently in the ensemble of Holiday Inn. In the past, she was a swing in Honeymoon in Vegas and Bullets Over Broadway.
Age: 24
Hometown: Agoura Hills, CA
Training: Ballet, jazz and tap at California Dance Theatre; BFA in musical theater from Syracuse University
Broadway debut: Saxer was wrapping up college when she received a callback for Susan Stroman’s production of The Merry Widow at the Metropolitan Opera. She booked the gig, but when a swing position opened in Stroman’s new Bullets, the choreographer hired Saxer for that instead.
Defining her brand: Though Saxer is largely hired as a dancer, using the label with confidence was initially challenging. “Growing up,” she says, “I didn’t consider myself a full-out dancer, but more of a tapper. Syracuse gave me the confidence to be a triple threat, with ‘dancer’ coming first.”
Learning to swing: In Bullets, Saxer relied on her swing cohorts and a program called Stage Write that allows users to map out choreography clearly. Honeymoon, however, changed continuously during its initial performances. “For Honeymoon, I had four sets of notes,” says Saxer. “There’s nothing harder than swinging in an original cast!” Now, she’s taking a break from multitasking and is enjoying fleshing out her ensemble track.
What others are saying: “She’s very much a chameleon, adapting to the time period, setting and genre,” says Holiday Inn choreographer Denis Jones. “I appreciate a dancing actor: someone who’s able to go beyond the steps and actually experience a truthful moment through dance. That’s what Jonalyn delivers.”
On the horizon: Saxer plans to continue performing and working as a dance captain, a role she had in the regional show Moonshine: That Hee Haw Musical, also choreographed by Jones. Eventually, she’d like to add choreography to her plate. “That’s my ultimate dream. But for now, I believe you have to go where your jobs take you. You can’t plan it,” she says. “I audition for everything. Until something is for sure, you have to keep putting yourself out there.”
CATS holds a sacred place in many dancers' hearts. Tackling T.S. Eliot's alternate, feline universe offers a chance to be part of a legacy, and cast members speak reverentially of the show's whimsy and technical demands. Now, in the current revival on Broadway, a new litter is exploring Andy Blankenbuehler's movement layered in with Gillian Lynne's original choreography.
Pazcoguin runs through her solo 30 minutes before curtain. PC Jim Lafferty.
Georgina Pazcoguin: Victoria
Backstory: Also a New York City Ballet soloist, Georgina Pazcoguin is known for exploring unorthodox roles. But although she was always drawn to CATS' theatricality, she never thought she'd perform it. Now she's donning a white unitard as Victoria, the balletic kitten coming of age.
Committing: “CATS is a weird show, so you must be fully committed. That's why we do our own makeup and spend so much time crawling around finding our own cat."
Solo Work: Victoria's iconic solo is filled with endless développés punctuated by twitches and swerves, ending in a Pilates-teaser–like seat. Pazcoguin first learned it from Lynne for a performance with American Dance Machine for the 21st Century last year. “Gillian, an 89-year-old woman, schooled me! I was sore for days. The tempo and control are difficult, and at the same time, Victoria's exploring her own body. The second I start, I think of a waterfall flowing off my body."
Hanes channels his Fosse felinity as Rum Tum Tugger. PC Matthew Murphy, Courtesy CATS.
Tyler Hanes: Rum Tum Tugger
Working With Andy Blankenbuehler: “Andy's brain is always going. He takes this show to a different level. He understands a dancer's body and knows what looks good."
Becoming Tugger: “Since my background is Fosse, with that slink and felinity to it, I'm giving myself permission to be free in that vein. But also, I feel like the character has a mind of its own. Before, I felt like I was trying to emulate Andy to be 'correct.' Now, the movement is coming from a place of character. It's more fun. Tugger dancing is not Tyler trying to dance like Andy!"
Body Prep: Because of the snug costume, Hanes had a clear
vision of what he wanted the character to look like: Adam
Levine. So, he hired a trainer who's helped him to build strength, not bulk, through basic strength-training moves like squats and
bench presses.
Shonica Gooden: Rumpleteazer
Ubeda (left) and Gooden (right). PC Jim Lafferty.
Backstory: Gooden had never seen CATS, but she wanted to work with Blankenbuehler again after performing in Hamilton. “When I watched the video, I thought, What did I get myself into?!" Now, she's fallen in love with the show's themes of forgiveness and community.
Becoming Rumpleteazer: Gooden and Blankenbuehler worked together to make her Rumpleteazer sassier than other versions. “I made her unapologetically part of my culture: Being a black woman, that sass and attitude was naturally coming out. I didn't want to suppress it."
Two-Person Cartwheels: To tackle the tricky double cartwheels with Mungojerrie, danced by Jess LeProtto, the two initially practiced daily during the lift call preshow. “I learned to place my hands on his thighs exactly the same every day. If you hesitate, it's not happening!"
Feline Features: “If I'm relaxed, I keep my fingers closed for a calm paw. But when Grizabella comes on, I open up my fingers for claws and my shoulders tense up."
The Naming of Cats: The cast often calls each other by their cat names. But, there are variations. “Georgina is so spicy in the show, and she has so much attitude. So I said, 'Your name is Lakisha.' It stuck."
Ricky Ubeda: Mister Mistoffelees
Backstory: Ubeda wore out his VHS copy of the London production as a kid. “I cried for three days when I got this part."
Making Mister Mistoffelees: While Mister Mistoffelees is traditionally pulled up and über-clean, Ubeda and Blankenbuehler agreed theirs would be a cooler, more personable cat. “He loves to get the party started, and I have this theory that he teaches the other cats to dance."
Rough Rake: “In rehearsal I had found my flow, but then I got to the rake and cried. Now, I've gotten to the point where I don't fight the rake. If it's throwing me, I just go with it."
Fauré as Demeter. PC Jim Lafferty.
Kim Fauré: Demeter
Backstory: This show was one of the reasons Fauré started dancing. “It was my plan to be in a ballet company for a few years—and then CATS for the rest of my life."
Feline Features: To keep her sophisticated character intact even when she's not dancing, Fauré lies on her stomach, paws crossed and one leg bent.
Body Prep: To handle the demands of the show, Fauré cut out sugar to avoid inflammation and upped her potassium, vitamin B, calcium and magnesium to keep her muscles pliable.
Fame: Tons of fans wait outside to meet the cast, and Fauré thinks it's because everyone can find a cat they connect with. “You can see yourself in the cats."
Corey John Snide and Emily Tate: Coricopat and Tantomile
Tate (left) and Snide (right) danced together at Juilliard before joining the show. PC Jim Lafferty.
Backstory: Pre-Broadway, the two danced together at Juilliard. Now, they play twin cats.
Twin Tales: The twins are clairvoyant, and Blankenbuehler allowed Tate and Snide a large role in creating their movement. “During one moment when the whole stage goes into slow motion, he said, 'I want the intuition to come from your head,' " says Tate. “We created a movement where we take our hands next to our ears as if a thought bubble is popping out."
Bloopers: Since the pair works so closely, snags are unavoidable. Snide says, “One day, my unitard got stuck on her tail, I ripped my arm away and it went flying!"
Duo Details: The whole cast improvises certain sections. But for their version of improv, Tate and Snide have to maintain almost identical movement. Snide says, “The details, the position of our legs and contraction of our backs, are essential to creating the look."
Blankenbuehler updated the choreography, but kept its sensual felinity. PC Jim Lafferty.
Layers of Choreography
When CATS first opened on Broadway in 1982, Gillian Lynne's choreography earned much of the accolades. Infused with jazzy ballet lines, her now-iconic movement struck spectacularly odd shapes to depict energetic, sensual felinity.
For the revival, the team brought in man of the moment, Tony Award–winner Andy Blankenbuehler to add his take. Fresh off Hamilton, he integrated his blend of gestural hip hop and cool jazz into the framework. Fans still find Lynne's trademark portions. But audiences looking for a modern stamp now enjoy details like a techno-fab Mister Mistoffelees nailing tilts in an LED-light jacket. “We don't move the way they did in the '80s," says Ricky Ubeda. “But it's great training to dive into that style and then be balanced by Andy's storytelling choreography."
For the dancers, this combination meant double benefits—and double challenges. To ensure Lynne's portions were tackled correctly, one of her associates oversaw rehearsals. “She'd explain the heart and the direction of those sections," says Kim Fauré. “Then, we could approach the layers of Gillian's and Andy's work more easily."
Most dancers’ meals are filled with healthy food choices. But splurges are also part of a well-balanced diet—and life.
Danny Gardner
Broadway performer and member of physical comedy troupe Parallel Exit
Typical meals: Eggs and yogurt in the morning; a salad or sandwich for lunch; chicken, veggies and couscous for dinner.
Splurges: Pad Thai or Domino’s pizza with pepperoni and banana peppers.
Tips: “Before I eat, I ask, ‘Do I really want or need this, or would I be full with some chicken and veggies?’ Or, ‘How will I feel onstage after I eat a pizza the night before?’ I try to realize when I’m thirsty versus hungry, which happens a lot! But you must reward yourself sometimes.”
Ghrai DeVore
Dancer with Alvin Ailey American Dance Theater
Typical meals: Boiled eggs and green juice or lemon juice with cayenne for breakfast; a bento box with teriyaki salad during the workday; and pasta and seafood (or steak, if she’s been dancing hard) for dinner.
Splurges: Pie. “I usually buy them at Magnolia Bakery. I also love Girl Scout Cookies!”
Tips: “When I’m fatigued, I’ll add carrots, nuts and cranberries for energy and drink more water. And whenever I feel the need to comfort or to treat myself, I do. And that’s healthy.”
Mikey Winslow
Broadway performer
Typical meals: Homemade green juices with kale, spinach, romaine, apple and cucumber. Chicken and veggies for lunch and dinner.
Splurges: “When I’m dancing a lot, I eat a lot of Domino’s pizza with pepperoni and pineapple—plus ranch for dipping! I try to keep it to once a week. Dove chocolate squares are also special—my mom had them at home when I was growing up, and now she sends them to me when I’m on tour.”
Tips: Winslow focuses on separating hunger from boredom. “If it’s been a hard day, I’ll eat healthy, but also get Lucky Charms or enjoy a couple of Oreos.”
Sarah Ricard Orza
Soloist with Pacific Northwest Ballet
Typical meals: Eggs, oatmeal or a bagel with cream cheese for breakfast; sandwich and fruit for lunch, with nuts and pretzels to snack on; organic vegetables and a Cuban pork roast for dinner.
Splurges: “I love to bake with my daughter, and we often make lemon bread or chocolate cake. I also love strawberry balsamic gelato or great coffee, like brewed espresso from Stumptown or Caffè Fiore in Seattle.”
Tips: Orza tries to only eat what she prepares at home. “It’s about a healthy and happy life. Splurging is a part of that. We have so much stress from our work, so when I want something, I’ll enjoy myself.”
Courtney Henry
Dancer with Alonzo King LINES Ballet
Typical meals: A substantial breakfast, like brown rice and kale; light lunch; and tropical fruit like oranges, bananas or mangoes for snacks. Dinner is a big meal of fish, veggies and some kind of grain, like couscous.
Splurges: Peanut butter. “My friends laugh because I put it on everything. My favorite is Peter Pan, from my childhood!”
Tips: “Cravings are a way of your body communicating: Honor that. And remember, everyone is different. Don’t let what other people look like or what they eat make you judge what works for you.”
In Broadway's An American in Paris, Allison Walsh whirls through the streets of the City of Light with the aplomb of a veteran musical theater dancer. In The Lion King, Jaysin McCollum stalks the jungle with the presence required of a performer dedicated to the Great White Way. Though both are clearly at home on Broadway, it's not their natural habitat: Instead, they're former ballet dancers.
And they're not alone. Dance-centric shows like An American in Paris, On the Town, Finding Neverland and Fiddler on the Roof have made a comeback in the last 10 years, a happy return after several seasons in which smaller, more intimate musicals proved the norm. Now, classical ballet dancers are being hired for their technique, quick pick-up skills and in-depth partnering knowledge. “For On the Town, much of the dancing was ballet-based, so we were looking for great ballet training," says choreographer Joshua Bergasse. “Dancers with a ballet background understand body lines and partnering."
But, not everything gleaned in the ballet studio will help if you're hoping to switch out your pointe shoes for LaDucas. What does it take to make it on the Great White Way after a career in ballet?
“It's been beyond worth it to see my artistry grow in an unexpected way."—Jennifer Gruener. Photo by Justin Patterson Photography.
Why Switch?
For many ballet dancers, there are a variety of perks. To start, because musicals continually open and close in New York City and around the country, different types of dancers are needed more often, and the chances of getting hired are better. For Jennifer Gruener, this larger volume of opportunities was attractive. After studying at Philadelphia Dance Theatre and The Rock School for Dance Education, a degree in dance from Indiana University garnered her only an unpaid trainee position. Taking her mother's advice, she journeyed to New York City, shifted her focus to musical theater and has embraced the diverse styles of dance available to her: She's performed with the Radio City Christmas Spectacular national tour, at regional theaters and, currently, in the ensemble of off-Broadway's Trip of Love.
Walsh, a 30-year-old ensemble member and lead understudy in AAiP previously performed with the Joffrey Ballet and BalletX. She saw AAiP as an opportunity to continue her career in a less physically demanding way: “I was at a point where I wanted to try something new before I retired," she says.
“We're smart and intuitive: That counts." —Allison Walsh. Photo by Ted Ely.
Finding Your Voice
When dancers make the leap, they're often surprised to find how vastly different the musical theater audition scene is—leaving many unprepared for their first stabs. Having to learn new dance styles, sing, and read lines and monologues can be daunting. “After we did ballet, Horton and choreography from the show, they asked if we could sing," remembers McCollum of The Lion King audition. “I didn't know I was supposed to bring music! I sang a cappella, which isn't appropriate."
Gruener adds: “When I started auditioning, I hated singing. I had to get over that—quickly. With casting now, it's important to be able to understudy roles: You must sing."
She started taking as many voice lessons as possible. “When I'm not good at something immediately, it's hard for me to stick with it. In auditions, I didn't always know what would come out of my mouth! But just like I kept working at ballet, I kept at the voice aspect, even though it was uncomfortable."
Walsh did the same: “Breathing for singing is so different than dancing. Just to sing and be comfortable in front of people is the biggest challenge," she says. “But if you're comfortable, the casting team can see you're someone they can work with." McCollum adds that he consulted his new cast mates to understand where to go for future auditions: Now he has a music book and monologue choices, and he goes to acting classes regularly.
“Go to every possible audition," says Gruener. “Get in the practice of it, largely so you can understand the process, see how many styles you have to pick up and start to understand what you're right for."
“I didn't know I was supposed to bring music to auditions!" —Jaysin McCollum. Photo by Rick Stockwell.
Ballet Benefits
But take comfort: Your ballet base will hold you in good stead in many ways. “The strength and technique of ballet dancers is always helpful in the rehearsal room, and they speak that common language of ballet vocabulary that can make creating faster," says Bergasse. “I can say do eight counts of jeté turns and then fouettés, and a ballerina can execute it quickly without demonstration."
Walsh's attention to detail and ability to retain information has also allowed her to spend time as a dance captain for AAiP. “I learn quickly, I can help choreographers and I know how to communicate with other dancers because of my time in the ballet world," she says. “Actors often comment how quickly ballerinas learn and how eager we are to adapt. We're smart and intuitive: That counts."
But not all ballet studio protocol is helpful. “In ballet you don't necessarily talk to teachers or those you audition for. There's a sort of 'pedestal' situation," says Gruener. “But in musical theater, it helps to network." Gruener noticed that taking classes with teachers who she'd later see in auditions was a natural—and common—way to create connections, and chatting with them afterward was appropriate.
The vibe of musical theater auditions and rehearsals also shocks many former ballet dancers: They bustle with energy and chatting instead of quiet gravitas, and big personalities are much more apparent. It's important to find your own center of focus and relax. “I'm looking to see if the dancers can let loose. Not everyone can: They're not necessarily trained in that, and sometimes it's harder than you think to adapt," says Bergasse. “Try to be yourself, that person who loves dance and finds joy in it."
Bergasse notes that this more high-energy situation can be intimidating. But, trusting in your training and ability to adapt will help. “Sometimes the personalities in the musical theater world can be overwhelming," he says. “But, rather than be afraid of it, embrace it. In the end, we're all cut from the same dancer cloth."
For Gruener, trusting in this fact has paid off. “I think back and am always so happy I didn't get a job in ballet," she says, with a laugh. “Musical theater has allowed me to live in New York, go on tour to places I wouldn't have before and enjoy jazz and other styles I always loved. When I first moved here and wasn't getting jobs, I wondered if I made a mistake. But it's been beyond worth it to see my artistry and abilities grow in such a fun, unexpected way."
Lauren Kay is an NYC–based writer and dancer.
The Broadway dancer teaches 12 fitness classes a week.
Vo appreciates the community atmosphere of group classes. Photo by Robert Hart.
Christopher Vo’s career redefines the term “impressive resumé.” He’s danced with Lar Lubovich, on TV’s “Smash,” in the national tour of Twyla Tharp’s Come Fly Away, and now appears in Broadway’s The King and I. But since graduating from Juilliard in 2008, he’s also maintained a parallel career as a group fitness instructor at Equinox Fitness Club. After teaching Zumba for five years, today he leads a range of classes exclusive to Equinox: Tabata, Metcon3, Ropes and Rowers, The Cut, Body Sculpt and EQX Barre Burn. All told, his weekly routine consists of performing in eight shows, teaching 12 classes and taking five.
Most of the classes he teaches focus on his favorite type of fitness, high-intensity interval training. Bouts of high-intensity intervals followed by rest intervals, in conjunction with smart compound-movement patterns, result in burning more calories during class and even long after the workout is finished. “Tabata classes, which are 8 rounds of exercises, each for 4 minutes of working for 20 seconds and resting for 10 seconds, are based on the findings of a Japanese scientist,” he says. “They force you to work at maximum intensity so you are continuously burning calories.”
Meanwhile, EQX Barre Burn and Body Sculpt are designed to heighten proprioception and help lift, lengthen and tone. Vo designed his EQX Barre Burn class to be similar to other barre approaches, integrating dance, Pilates and yoga-inspired movements with light weights, a yoga block and body barre. He finds it particularly helpful when recovering from injury, or whenever he needs to reconnect with his body. “The light weights and high repetition help retrain the body’s motor mechanics,” he says. “It’s a great add-on with physical therapy.”
This diverse blend helps Vo balance his body. “So much of dance is one-sided, especially on Broadway, when you’re doing something eight times a week,” he says. It also improves his endurance, which dancers often lack due to the stop-and-start nature of dancing.
Vo finds group classes translate to the stage from a mental standpoint, too. “They all have a community component to them,” he says. “On Broadway, so much of it is about ensemble work. Moving together in a class environment helps you tune in to the people around you, just as you do in a show.”
The Ballet Hispanico dancer teaches one of NYC’s trendiest fitness classes.
SLT’s isolation exercises strengthen Van Woesik’s core and back. Photo by Paula Lobo, Courtesy Ballet Hispanico.
Kimberly Van Woesik used to be a dedicated gym enthusiast, visiting regularly. But while weight lifting and cardio gave her extra stamina and definition, they didn’t produce any major changes in her technique.
Then a year ago, a friend recommended SLT, the New York City–based “Strengthen Lengthen Tone” class on a machine called the Megaformer (basically an enhanced Pilates reformer). “The first class I took was so hard,” she says. “But I was on a high because my body was burning in all the right places: my abs, obliques and upper body.”
First Time at SLT? While the many moving parts of the Megaformer machine can be scary for first-timers, Van Woesik reminds dancers: “You’re in control. The machine doesn’t move unless you make it. There’s no shame in taking a break as you work to get stronger.”
Now, she’s a full-blown SLT addict, taking the 50-minute class four to five mornings a week before company class at Ballet Hispanico. She’s seen such striking results onstage that she’s even become an instructor. “My core is stronger, my balances have gotten more solid and I’m also turning better,” she says, crediting SLT’s abundance of planking movements and exercises that work in contrast to planking, like the chest-opener for the shoulders and lats. “SLT has helped my back and shoulder girdle come together for a more solid base.”
These benefits come from the system’s grouping off of muscles: Moving the Megaformer’s carriage with different body parts at a slow, controlled pace, while maintaining constant pressure on the springs, allows students to isolate and exhaust specific muscles. “A lot of times you should be using your obliques, but you’ll use your leg, for example,” Van Woesik says. “So in SLT we practice finding just the obliques, which means the leg simply floats in as a result.”
Van Woesik loves exercises that challenge her this way. “I’m five years into my career, and each year the body wears more,” she says. “But since doing SLT, I’m not feeling as much pain anymore; I’m not compensating for a weakness. I now have the strength to hold things.”
