A native of Floyds Knobs, Indiana, Madeline studied ballet at Southern Indiana School for the Arts and was later introduced to modern dance by Bill Evans. While completing her BFA in Dance Performance and Choreography at Ohio University's Honors Tutorial College, she was cast in a historical reconstruction of Alwin Nikolais' Noumenon celebrating the 100th anniversary of his birth. As an avid dance videographer and editor, she has worked on video projects for Bates Dance Festival and the Regina Klenjoski Dance Company in Southern California. She later served as a marketing and education manager for Lar Lubovitch Dance Company and is a former assistant editor—research for DanceMedia's various publications. She is currently the managing editor of Dance Magazine and Pointe.
Last week, I attended a show I'd been eagerly anticipating: Dragon Spring Phoenix Rise at The Shed, a brand-new performance venue in New York City. Not only was I looking forward to Akram Khan's choreography (not to mention a sword-wielding PeiJu Chien-Pott and remixes of Sia's music), but I was anxious to get a taste of The Shed's ambitious inaugural season.
Despite the slick marketing and big names involved, Dragon Spring fell short, with its cheesy dialogue, disjointed pacing and problematic narrative.
But something that evening bothered me far more than what was happening onstage.
Being coached by a treasure like former Kirov prima Irina Kolpakova is an experience most dancers only dream of. But company members at American Ballet Theatre have been the lucky beneficiaries of her wisdom since 1990. Thanks to Instagram, where pros like Gillian Murphy and James Whiteside share snippets of their sessions with Kolpakova, any ballet lover can be a fly on the wall during rehearsals with the famed ballet mistress.
Last night's Tony Awards, (aka James Corden's three-hour attempt to persuade TV-streaming-binge-watchers to put down the remote and see some live theater, for gosh sake) had a bit of everything: wisdom from celebrated actors, cheeky laughs, political quips, historical victories and, our favorite, incredible performances. Unsurprisingly, Tony frontrunner Hadestown took home eight awards, including Best Musical, Best Direction for a Musical and Best Featured Actor in a Musical.
Relive the night with some of our favorite moments from Broadway's big night, in order of appearance.
When you're talking about a style as distinct as Fosse, a flick of the wrist or a roll of the hip is never just that. It takes intention, finesse, exactness and, of course, that characteristically smoldering sex appeal.
Now that the finale of "Fosse/Verdon" has aired, FX is taking viewers behind the scenes to reveal how the dancing came together—and it wasn't just a quick reconstruction.
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
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.
"Life can be so rich and wonderful when we step off the logical path and embark on eccentric adventures."
For a sentiment that sounds like it belongs in a fortune cookie, you'd never expect that Steve Young is actually referencing a subset of offbeat, secret musicals: Shows about toilets and tractors and dog food and cars. Shows with big names, like Bob Fosse attached, and even bigger Broadway-style budgets. Shows that were never seen by the public.
These musicals are the subject of Bathtubs Over Broadway, the Tribeca Film Festival–winning documentary that begins streaming on Netflix today.
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Ephraim Sykes has repeatedly proven that he's a standout dancer in Broadway shows like Hamilton, Motown and Newsies. But, boy, can he also sing.
As David Ruffin in Ain't Too Proud: The Life and Times of The Temptations, he does both with such vigor that we had to know how he pulls off this famous Temptations frontman. "It requires everything," says Sykes, who was nominated today for outstanding male dancer in a Broadway show by the Chita Rivera Awards.
When it comes to musicals, they sure don't make 'em like they used to. Case in point: When Kiss Me, Kate premiered in 1948, integrated musicals—shows that produced genuine emotions and had music and lyrics closely tied to the script, rather than comedies or revues—were still a fairly new trend. In fact, Kiss Me, Kate was Cole Porter's first stab at this structure. Fast forward to 2019, and it's hard not to notice that some numbers feel like they're barely related to the narrative.
Scratch your head all you want (Why are they singing and dancing again? And how exactly does it move the plot forward?), but there's a major upside to this structure: It gave choreographer Warren Carlyle a lot of room to play when choreographing Studio 54's current revival.
The connections dancers make in college are no joke. For recent alum Gabrielle Hamilton, working with guest choreographer John Heginbotham at Point Park University put her on the fast track to Broadway—not in an ensemble role, but as the lead dancer in one of this season's hottest tickets: Daniel Fish's arresting reboot of Oklahoma!
We caught up with Hamilton about starring in the show's dream ballet and her delightfully bizarre pre-show ritual.
One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.
This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.
The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.
After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.
"I put on Lorde for a warm-up song," says Lucy Wallace, recalling a dance class she was giving to a new group of students. "As soon as I started moving—literally just stepped to the right and moved my arm—this woman behind me said, 'Oh! This is spiritual.' "
But she wasn't the typical dance student, nor was this a typical studio. This woman is serving a life sentence at Denver Women's Correctional Facility.
Just a few weeks ago, we were musing about which major pop stars might get a jukebox musical. As our team batted ideas back and forth, I hastily shared this thought over email:
Will there someday be a (gasp) Britney Spears musical?
"Weirdo. Pervert. Disgusting." These are just a few of the insults—and the milder ones at that—often directed at pole dancers. Perhaps more than any other dancers, its practitioners are constantly fighting for recognition that they are indeed athlete artists. Now, they're getting major support from a surprising source: Sprite.
Dance on Broadway is usually more about ensemble work than stealing the singular spotlight. That's true for most of The Cher Show, with Christopher Gattelli's choreography supporting the titular diva. But for one second-act number, dance takes center stage.
The jukebox musical is a bonafide Broadway staple. Everyone from ABBA to Elvis and Billy Joel to The Beach Boys has been given the Great White Way treatment, and shows with Alanis Morissette's and Michael Jackson's hits are on their way. The big question on our minds is, What current artists' songs might we hear on Broadway in the future?
Building a full-length ballet from scratch is an intense process. For the world premiere of Anna Karenina, a collaboration between The Joffrey Ballet and The Australian Ballet, that meant original choreography by Yuri Possokhov, a brand-new score by Ilya Demutsky, costume and set designs by Tom Pye and lighting designs by David Finn.
If you're anything like us, your Instagram feed is chock-full of gorgeous dance photos and videos. But you know what makes us fall in love with an artist even more? When they take a break from curating perfect posts and get real about their missteps. These performers' ability to move past mistakes, and even laugh them off, is one reason why they're so successful.
Every time you fall out of a pirouette, just remember: The stars—and literally every. single. dancer.—have been there, too. (Even Misty Copeland.)
Taking time off from dance is often inevitable when injury strikes. But receiving a misdiagnosis—and the wrong type of treatment—can prolong your recovery.
"A lot of doctors practice where they'll only see one or two dancers a year," says Dr. William Hamilton, a New York–based orthopedic surgeon specializing in dance medicine. Since most medical professionals aren't familiar with the art form's demands, we asked three doctors in the know about the most common missed or misdiagnosed conditions you should watch out for.
By now, these formulas aren't anything new: Choreographers are increasingly recruiting pop stars to create scores. And Broadway producers have long followed the time-honored (not to mention moneymaking) tradition of building shows from an artist's hit catalog (see: the currently running Cher Show and Beautiful: The Carole King Musical, and the Broadway-bound Jagged Little Pill and Don't Stop 'Til You Get Enough.)
But choreographer Kate Prince is putting a new twist on the dance-meets-pop-star story: pairing street dance with the iconic songs of Sting and The Police. The show, Message in a Bottle, is currently in development and slated to open at Sadler's Wells in February 2020.