Dancers are the ultimate autodidacts. During the process of training we spend most of our given 24 hour cycle engulfed inside a studio and mirrors. For many of us, there wasn't much of a life outside of that dominating dance dome of discipline during this time of student-ry.
How does a dancer educate him or herself about culture, current events and the world when there is barely enough time to achieve high levels of grandiosity inside the studio? Of course, there is that thing called high school, but I think a lot of us were nodding off during ou history lectures. This is a bi-product of getting 4 hours of sleep due to late dance rehearsals and a lot of homework. Many humans, through the act of socializing, become steeped in the world and its culture, but in my observation classically trained dancers have a tendency to not possess that coveted "gift of gab" due to years spent with a closed mouth and open eyes in the classroom. Eyes that were scolded if, at any given moment, they weren't locked, on the ballet mistress with interest and passion! - A passion that would, in turn, unlock the "mystery" of how to become a great prima ballerina (interpret this how you like). I can't help but diverge a little bit here and think of the times I was in ballet class and the three boys in the class would purposely fart in order to be allowed to go to the bathroom. Otherwise, they weren't permitted to leave ballet class at all. This lack of "bathroom permission" was supposed to teach them respect for the teacher, but all that it did was give us obedient girls in the class a not-so-fragrant whiff of boys being boys. They would do this right before adagio...go figure...they must have had beans for lunch every day before ballet class. Now that is what I call sacrificing for your art...or should I say "fart".
Anyways, the answer to this conundrum of "how does a dancer become a versatile person while locked in a studio for many years?" is: when an amateur dancer makes the transition to a professional dancer, he/she also makes the transition into a worldly and educated citizen. As a professional, you tend to work on the road. You do not ever visit a city as a tourist, but instead, as a temporary resident. Whether on a tour bus, on a ship or on a plane, one realizes that the best way to pass time is by enlightening the mind. Whether through new ideas via discussion with company or cast members or through reading novels and non-fiction publications while trying to pass the seemingly limitless time on a plane, train or automobile. When you become part of a second family (your company), a dancer can break out of that shy bubble and truly blossom into a social person and learn the gift of gab. Most importantly, when a dancer is shipped off to Japan, the Caribbean or even Schenectady, you literally get dropped off in an alien place where you have no choice but to adapt. This constant metamorphosis makes you capable of absorbing many new rays of "thought photons" when you return to your place of origin. Once the bird learns to fly, the growth is exponential.
Upon release into the world of auditioning and performing, the discipline that is tattooed on the soul during the time done in training (the dominating dance dome of discipline) is a key ingredient in the "cultured and personable dancer" recipe. When you find yourself thrust into a professional show for the first time (especially if it is a musical theatre show), there is a strong chance that the dancer will have a moment of clarity that says, "Did I miss out on life?". This can be a sad realization for some, but just as the dancer begins to get emotional, that ol' dependable, domineering friend called discipline comes to the rescue with a big D on its chest! You discover there is so much more to life, and, so, you join the club of the Dance Autodidacts. You educate herself on everything and anything you can get your hands on.
Now, there is time to absorb other aspects of life-joy! It is very invigorating to look at life anew. This breakthrough can either be blissful or depressing. Know that there is a large, unofficial club out there that you will be joining if you see the bliss in this personal revolution-thus creating enlightenment for the person and not close mindedness.
I was inspired to write about the autodidact who lives in every dancer because I just found out that I will be going to Kansas City Starlight Theatre for about three weeks this summer to perform The Music Man! I am not only excited to have a job, but also inspired by this imminent affair I will have with Kansas City and one of its fountainheads of culture. Speaking of fountains, did you know that Kansas City has more fountains than any other city in the world besides Rome? My agent was telling me that it has a very European feel, and considering that I have never been to Europe, I think that I might just pretend that I am in Europe. (I won't start speaking French, don't worry. I think this might get me kicked out!) As I read about the city, I had an epiphany about how lucky I am to get the opportunity to have another experience to live like a resident of yet another area of the world. This allows me to continue filling in a real life painting in my head that depicts the world as I have experienced it. I don't have to rely on another person's opinion or a publication to form my opinion about an area of the world. I have a piece of that city locked in my cranium-unless I lose my mind!
Stay tuned because after attending a "VIP blogger night" for Cedar Lake Ensemble on Monday evening, I will share my thoughts with my cyber-friends who live here in the dance-blogosphere. I am going to have a chance to speak with and take photos of the choreographers and dancers and get a sneak peak of their new season of works.
Stay strong and autodidactic!
May 30, 2008
May 24, 2008
Peg Leg Bates-a must see!
This video was brought to my attention by a blogger on Dancer Universe, Stacie Strong, who recently blogged about dancers who dance "against all odds". This video is an eye opener and just goes to show how far you can go if you let the spirit of dance guide you.
Peace.
May 23, 2008
En Pointe ou En "Match Stick"
I walk into the assigned room for pointe class. I put my pointe shoes on as the students from the beginning ballet class prior to my pointe class gleefully shasse and sote across the floor as if there isn't a care in the world (I love this no strings attached, free-spirited attitude of a beginning dancer). Just as I finish tucking in the last piece of ribbon on my pointe shoe, I look up to see what my options are for a spot at the barre. As I look at this ballet barre that runs parallel to the long mirror at the front of the room, I realize that my first position in class is going to be either between the two boys on the end of the barre or the two men in the middle section.
Every man and boy is standing in first position at the barre, (I think the youngest is seven) and is wearing something beautiful, shiny and pink where human flesh meets the marly. Pointe shoes. The strangest part about this situation is that there are a total of ten people in class, and I am the only female! I am so shocked, but also so thrilled about this newfound concept (newfound for me).
I mean, why not? Men tend to have more problems with their arches than females. What better way to stretch and increase the arch, strengthen the ankles and improve technique than to put a pair of pointe shoes on a few times a week. These men are really good, too. I am so impressed with their grace on pointe-a grace that doesn't suck all of the masculinity out of these men. I think this produces an oxymoron-a masculine pointe dancer.
These men are outstanding on pointe, and they inspire me to start studying pointe on a regular basis. Just because you aren't in a ballet company doesn't mean you can't benefit from a pointe class once a week. I have truly rediscovered the value of taking pointe class. I haven't been consistent with pointe classes in a long time because I haven't been dancing in a ballet company, and most musicals don't incorporate pointe dancing (unless you are doing Phantom of the Opera or Mame). For the past two months, I have been taking pointe a couple of times a week in preparation for the Radio City back up dancer audition. Unfortunately, I am not tall enough to be a Rockette, so I go for the back up "dancing bear" part. Most dancers in the ensemble have to be en pointe, so I am currently gearing up by torturing my piggly wigglies at least once a day at home and twice a week in class.
Previous to my encounter with these beautiful, masculine pointe dancers, my only motivation to spend money on pointe class was to become strong enough to participate in the Radio City audition. Now, I have come to the conclusion that I am going to continue with my pointe training for as long as I can while I pursue a dance career. I can't tell you how strong my arches and my legs feel after just taking pointe for a couple of months. My pointe is better, my ankles feel stronger and more supple (therefore reducing the risk of fractures and sprains), my turn out has improved and, most importantly, my inner thighs are taking control like gangbusters.
I find that it's very difficult to cheat and to "grip" when you have pointe shoes on because, when on your tip toes, the satin box is only going to turn out as much as your inner thighs force them to turn out. When in ballet shoes, it is very easy to "over-turn" your feet because the bottoms of your feet can easily stick to the marly floor at 180 degrees while your knees are only at 135 degrees. As a ballet dancer, you want to use your inner thighs and pull up through your stomach as much as possible so that you are not sinking into the ground but pulling up to the sky...up up and away...across the universe (I like playing this ethereal Beatles song in my head while I do pleas and tondues at the barre...it kind of makes me feel like I am floating...which is sort of what you want to feel like when you dance ballet). I can take a philosophical approach to this in that if I am cheating in ballet, which is is the foundation of all dance, I feel like I am cheating myself in all aspects of life. This can be analogous to a house that's held up with a couple of match sticks as its foundation. It is bound to crumble to the ground at some pointe and probably burst into flames, too! If you feel like you are going crumble at some point, get on pointe! That is my prescription for any dancer who feels unstable and like they are balancing on match sticks.
Trade in your match sticks for some pointe shoes.
Irene Kent Beginning Pointe Class New Dance Group
Yuka Kawazu Open Pointe Class New Dance Group
Every man and boy is standing in first position at the barre, (I think the youngest is seven) and is wearing something beautiful, shiny and pink where human flesh meets the marly. Pointe shoes. The strangest part about this situation is that there are a total of ten people in class, and I am the only female! I am so shocked, but also so thrilled about this newfound concept (newfound for me).
I mean, why not? Men tend to have more problems with their arches than females. What better way to stretch and increase the arch, strengthen the ankles and improve technique than to put a pair of pointe shoes on a few times a week. These men are really good, too. I am so impressed with their grace on pointe-a grace that doesn't suck all of the masculinity out of these men. I think this produces an oxymoron-a masculine pointe dancer.
These men are outstanding on pointe, and they inspire me to start studying pointe on a regular basis. Just because you aren't in a ballet company doesn't mean you can't benefit from a pointe class once a week. I have truly rediscovered the value of taking pointe class. I haven't been consistent with pointe classes in a long time because I haven't been dancing in a ballet company, and most musicals don't incorporate pointe dancing (unless you are doing Phantom of the Opera or Mame). For the past two months, I have been taking pointe a couple of times a week in preparation for the Radio City back up dancer audition. Unfortunately, I am not tall enough to be a Rockette, so I go for the back up "dancing bear" part. Most dancers in the ensemble have to be en pointe, so I am currently gearing up by torturing my piggly wigglies at least once a day at home and twice a week in class.
Previous to my encounter with these beautiful, masculine pointe dancers, my only motivation to spend money on pointe class was to become strong enough to participate in the Radio City audition. Now, I have come to the conclusion that I am going to continue with my pointe training for as long as I can while I pursue a dance career. I can't tell you how strong my arches and my legs feel after just taking pointe for a couple of months. My pointe is better, my ankles feel stronger and more supple (therefore reducing the risk of fractures and sprains), my turn out has improved and, most importantly, my inner thighs are taking control like gangbusters.
I find that it's very difficult to cheat and to "grip" when you have pointe shoes on because, when on your tip toes, the satin box is only going to turn out as much as your inner thighs force them to turn out. When in ballet shoes, it is very easy to "over-turn" your feet because the bottoms of your feet can easily stick to the marly floor at 180 degrees while your knees are only at 135 degrees. As a ballet dancer, you want to use your inner thighs and pull up through your stomach as much as possible so that you are not sinking into the ground but pulling up to the sky...up up and away...across the universe (I like playing this ethereal Beatles song in my head while I do pleas and tondues at the barre...it kind of makes me feel like I am floating...which is sort of what you want to feel like when you dance ballet). I can take a philosophical approach to this in that if I am cheating in ballet, which is is the foundation of all dance, I feel like I am cheating myself in all aspects of life. This can be analogous to a house that's held up with a couple of match sticks as its foundation. It is bound to crumble to the ground at some pointe and probably burst into flames, too! If you feel like you are going crumble at some point, get on pointe! That is my prescription for any dancer who feels unstable and like they are balancing on match sticks.
Trade in your match sticks for some pointe shoes.
Irene Kent Beginning Pointe Class New Dance Group
Yuka Kawazu Open Pointe Class New Dance Group
May 19, 2008
The World of the Call Back
When I get a call back for a show that I have auditioned for, it provokes this feeling of great accomplishment within and, also, a bit of euphoria. As many of you know, when you actually walk into the room for the first call back, you realize that you are one of thirty or forty other girls who have also been called back from a combination of the invited agent call, the Equity call and the open non-union call. This can be disheartening for some because you always have that glimmer of hope in your heart that this one call back means that you are so close to getting that job. Most of the time, a first call back means that they are very interested, but they need to re-audition every one in that room because they don't really remember a lot of individual qualities to separate one from the next; they just remember that they liked you enough to give you a first call back.
For many shows there are anywhere from three to five or six call backs for one given show-especially, when it comes to casting a Broadway show. I have had friends who have been in for parts in certain shows seven times, and then after the seventh audition, they are told, "We really love you, we just don't have a part in the show for you right now". This sometimes means that they don't have a costume that fits you right now, and, considering that some individual costumes cost thousands, I totally understand that they wouldn't want to have to change the costumes as well as re-cast a part in the show. I know that it is an Equity rule that you have to start getting paid after spending a certain number of hours auditioning for a show. I think you get paid minimum wage when this happens.
The most I have been in for a show is three consecutive days. It is a lot of fun when this happens because you end up not only meeting the entire creative team, but also really getting to know the style of the choreographer inside and out. This particular choreographer, Sergio Trujillo, gave us a lot of notes every time that we danced, which made this experience so fulfilling. I have never been paid to audition, but, the way I look at it, some people pay hundreds of dollars to take a master class in which you don't get nearly as much individual attention.
All of these thoughts on call backs were birthed by an experience that I had a couple of days ago at a call back. I went in for Guys and Dolls (Portland Center Stage), and I was invited to the call back a couple of days later. I was shocked when I only saw about ten girls in the room stretching and going over the combination. This was such a divine experience because this means that the process is a lot more short and sweet, and you get a lot more attention immediately. Also, it is wonderful to have that much room to practice the combination before you have to perform it for them.
After we danced, they called back six of us to sing. I felt the my song went really well. My agent told me to bring legit music to the call, so I rented a studio for an hour before hand to get my voice warmed up-this always helps-especially when they ask for something in head voice! Also, because there were so few of us singing, the music director and the choreographer really spent more time than usual with each person in the room.
After I sang my song, the MD asked for my highest notes. I got up to an A clearly, which is high for me. I mean, I can do scales up to a C, but it isn't a performance C. I usually sing second soprano or alto, so this was an accomplishment. After the MD analyzed me, the choreographer asked me for a time step. I would say that tapping is one of my strong suits, so I was really happy that I got to end the audition with this. Of course, I gave him two triple times steps!
I walked out of that room with a smile on my face, which is all that I really want from an audition. I mean, of course, I would like to book the job, but if I can feel good about what I did in the room, then I know I have represented myself well-booking the job is icing on the cake (it is a really nice cream cheese icing, though). Auditioning is my number one job in life right now, so when it goes smoothly, I feel as if I have clocked out at the end of a work day leaving nothing but finished work at the office-no additional worries or work to take home with me-just a sweet, deep breath of fresh unencumbered air before I get on the A train uptown.
For many shows there are anywhere from three to five or six call backs for one given show-especially, when it comes to casting a Broadway show. I have had friends who have been in for parts in certain shows seven times, and then after the seventh audition, they are told, "We really love you, we just don't have a part in the show for you right now". This sometimes means that they don't have a costume that fits you right now, and, considering that some individual costumes cost thousands, I totally understand that they wouldn't want to have to change the costumes as well as re-cast a part in the show. I know that it is an Equity rule that you have to start getting paid after spending a certain number of hours auditioning for a show. I think you get paid minimum wage when this happens.
The most I have been in for a show is three consecutive days. It is a lot of fun when this happens because you end up not only meeting the entire creative team, but also really getting to know the style of the choreographer inside and out. This particular choreographer, Sergio Trujillo, gave us a lot of notes every time that we danced, which made this experience so fulfilling. I have never been paid to audition, but, the way I look at it, some people pay hundreds of dollars to take a master class in which you don't get nearly as much individual attention.
All of these thoughts on call backs were birthed by an experience that I had a couple of days ago at a call back. I went in for Guys and Dolls (Portland Center Stage), and I was invited to the call back a couple of days later. I was shocked when I only saw about ten girls in the room stretching and going over the combination. This was such a divine experience because this means that the process is a lot more short and sweet, and you get a lot more attention immediately. Also, it is wonderful to have that much room to practice the combination before you have to perform it for them.
After we danced, they called back six of us to sing. I felt the my song went really well. My agent told me to bring legit music to the call, so I rented a studio for an hour before hand to get my voice warmed up-this always helps-especially when they ask for something in head voice! Also, because there were so few of us singing, the music director and the choreographer really spent more time than usual with each person in the room.
After I sang my song, the MD asked for my highest notes. I got up to an A clearly, which is high for me. I mean, I can do scales up to a C, but it isn't a performance C. I usually sing second soprano or alto, so this was an accomplishment. After the MD analyzed me, the choreographer asked me for a time step. I would say that tapping is one of my strong suits, so I was really happy that I got to end the audition with this. Of course, I gave him two triple times steps!
I walked out of that room with a smile on my face, which is all that I really want from an audition. I mean, of course, I would like to book the job, but if I can feel good about what I did in the room, then I know I have represented myself well-booking the job is icing on the cake (it is a really nice cream cheese icing, though). Auditioning is my number one job in life right now, so when it goes smoothly, I feel as if I have clocked out at the end of a work day leaving nothing but finished work at the office-no additional worries or work to take home with me-just a sweet, deep breath of fresh unencumbered air before I get on the A train uptown.
May 16, 2008
Affordable Shows in the Big Crab
The Performing Arts library is an invaluable resource for performing artists. As dancers, actors and artists in general, we need to constantly see as many shows as possible in order to know what is going on in the professional world. The drawback is that this can get quite expensive. If you live in New York City, then you are eligible for an Access library card that will allow you to watch archives of Broadway shows, dance companies, symphony orchestras and much more at the Performing Arts Library on West 65th St and Broadway. I try to go there as often as possible to see recordings of certain shows for research purposes and plain old, care-FREE enjoyment. Also, this is a really good place to get your sheet music for auditions. It costs you 15 cents a page instead of lord knows what you would pay at a place like Colony Music. A good place to go if you need your music transposed is digitalsheetmusic.com or freehandmusic.com. All of these things are very helpful to us dancers who sing.
Another way to see shows at a cheaper price is to become a member of Theatre Development Fund. This organization has a membership fee of $27/year, and you have to mail in proof that you are either a performing artist or a teacher in NYC. There are tickets for dance companies, Broadway and off-Broadway shows, jazz ensembles and symphonies. Another route for getting cheap tickets is to show your student ID at almost any show or try to get standing room tickets, but that can be a pain because of the whole "getting up at 6 AM to stand in line when the box office opens" factor.
Speaking of cheap shows, check out the New York City Dance Parade this Saturday! It is totally free, and this only happens once a year, so don't miss this dance party in the streets of New York. Check out the website for the exact location and time.
Go out and see some shows y'all!
Another way to see shows at a cheaper price is to become a member of Theatre Development Fund. This organization has a membership fee of $27/year, and you have to mail in proof that you are either a performing artist or a teacher in NYC. There are tickets for dance companies, Broadway and off-Broadway shows, jazz ensembles and symphonies. Another route for getting cheap tickets is to show your student ID at almost any show or try to get standing room tickets, but that can be a pain because of the whole "getting up at 6 AM to stand in line when the box office opens" factor.
Speaking of cheap shows, check out the New York City Dance Parade this Saturday! It is totally free, and this only happens once a year, so don't miss this dance party in the streets of New York. Check out the website for the exact location and time.
Go out and see some shows y'all!
May 14, 2008
Dance Like No One is Watching
Dance like no one is watching.
This comes from a quote that goes: "Work like you don't need money, love like you've never been hurt and dance like no one is watching."
Sometimes it takes a special circumstance for a group of words to actually have a poignant meaning to you. My mom recently gave me this advice-to dance like nobody is watching-and, really, this is the best advice I have ever gotten in my life. It is so easy to get caught up in the "what other people think of you while you dance" factor-especially when you go to Broadway dance calls regularly. After a while, you realize that if you go back to your roots, and start dancing for the fun of it, you start to get booked on jobs because people can sense your honesty. People who do what they love want to surround themselves with people who do what they love.
It is funny how moms always know the perfect thing to say. Even though I have heard this phrase a thousand times, it has taken on a whole new meaning for me, and I think about this almost every day when I am auditioning and taking class. If I dance like no one is watching, that means that I am dancing because I truly want to from the bottom of my heart. You only do things that are 100% honest when you are by yourself and no one is watching. "If I'm not me, then who am I?" This is a quote from a brilliant movie, "I Heart Huckabees", that philosophizes on the meaning of life with an existential flair. In the end, they come to the conclusion that there is no conclusion. There really is no answer-just stop questioning so much and live in the moment, which is what "dance like no one is watching" means to me.
My mom watched me grow up dancing on stages around the country doing dance competitions and various shows, so, really, she has a very unique, significant perspective on my evolution as a dancer. Sometimes, I wish that I had that same experience of watching myself because this is invaluable. I don't see myself dance very often, and when I do, I see fifty different things that I want to work on-things that I don't see in a mirror when I am taking class. When in class, you see yourself enface, but when really dancing a combination, you aren't looking at yourself. You more or less rely on the teacher for critique, but because of the size of class, you are lucky if you get one or two comments directed toward you. Usually, the advice is general (even though you think it is directed toward you every time). Of course, I feel as if I am being hypocritical by saying "I wish I could analyze myself more" when I was just preaching about being totally free-spirited, but it is important to have a healthy balance so that when you do dance like no one is watching, you don't look like a prancing wet noodle. I do have a Mac Book that enables me to record myself via the iSight camera, which is such a wonderful tool for just plain seeing what you look like when you dance.
I am going to be performing at a friend's recital on Saturday at 12:00 PM at "School in the Gardens" 2 Russell place Forest Hills NY 11375. I am trying out a piece or two that I have choreographed on myself. One is going to be a short jazz piece to a Jolie Holland tune. I hope to see some of you there as I make my first stage attempt to truly dance like no one is watching.
This comes from a quote that goes: "Work like you don't need money, love like you've never been hurt and dance like no one is watching."
Sometimes it takes a special circumstance for a group of words to actually have a poignant meaning to you. My mom recently gave me this advice-to dance like nobody is watching-and, really, this is the best advice I have ever gotten in my life. It is so easy to get caught up in the "what other people think of you while you dance" factor-especially when you go to Broadway dance calls regularly. After a while, you realize that if you go back to your roots, and start dancing for the fun of it, you start to get booked on jobs because people can sense your honesty. People who do what they love want to surround themselves with people who do what they love.
It is funny how moms always know the perfect thing to say. Even though I have heard this phrase a thousand times, it has taken on a whole new meaning for me, and I think about this almost every day when I am auditioning and taking class. If I dance like no one is watching, that means that I am dancing because I truly want to from the bottom of my heart. You only do things that are 100% honest when you are by yourself and no one is watching. "If I'm not me, then who am I?" This is a quote from a brilliant movie, "I Heart Huckabees", that philosophizes on the meaning of life with an existential flair. In the end, they come to the conclusion that there is no conclusion. There really is no answer-just stop questioning so much and live in the moment, which is what "dance like no one is watching" means to me.
My mom watched me grow up dancing on stages around the country doing dance competitions and various shows, so, really, she has a very unique, significant perspective on my evolution as a dancer. Sometimes, I wish that I had that same experience of watching myself because this is invaluable. I don't see myself dance very often, and when I do, I see fifty different things that I want to work on-things that I don't see in a mirror when I am taking class. When in class, you see yourself enface, but when really dancing a combination, you aren't looking at yourself. You more or less rely on the teacher for critique, but because of the size of class, you are lucky if you get one or two comments directed toward you. Usually, the advice is general (even though you think it is directed toward you every time). Of course, I feel as if I am being hypocritical by saying "I wish I could analyze myself more" when I was just preaching about being totally free-spirited, but it is important to have a healthy balance so that when you do dance like no one is watching, you don't look like a prancing wet noodle. I do have a Mac Book that enables me to record myself via the iSight camera, which is such a wonderful tool for just plain seeing what you look like when you dance.
I am going to be performing at a friend's recital on Saturday at 12:00 PM at "School in the Gardens" 2 Russell place Forest Hills NY 11375. I am trying out a piece or two that I have choreographed on myself. One is going to be a short jazz piece to a Jolie Holland tune. I hope to see some of you there as I make my first stage attempt to truly dance like no one is watching.
May 5, 2008
Method or Madness...or both?
Before I go off on the rants that have been simmering in my head, I want to mention something pertaining to a person in my last blog. I said that Eva Yaa Asantewaa's dance podcast, The Great Dance Audio Podcast is wonderful, but I said that I was sad that I didn't hear more from this podcast because of its quality content. Well, lucky for me and all of my readers, I just found out that she has a blog, InfiniteBody, and a new podcast (well, it has been around for a while, I just wasn't aware of it) Body and Soul, in which she shares with the world her insight on the goings-on in the dance world and her in depth interviews with great dancers and other dance professionals. Her blog and podcast provide great ways for dancers to be knowledgeable of what is going on in the dance world and also to get inspired by all of the talent and brilliant creation that exists all around us, but sometimes seems hard to find or overwhelming to find unless we have some assistance and/or recommendation via a friend.
I think friend is the correct word here. I truly think that those whose podcasts and blogs you follow become friends. These are people who, when listened to at least a few times a week, become more than acquaintances in your life. As they laugh and have conversation with the person whom they are interviewing, you feel like more than just a voyeuristic fly on the wall-you start to feel like you are in that room with them, relaxing and silently participating in the conversation. The same is true for some of our favorite television shows ( I am going to pretend as if I watch TV for a moment). You get hooked on a series because you fall in love with the characters, and you want to spend a portion of each evening "hanging" out with them. They are worth it to you. This is why I think a podcast such as Fresh Air with Terri Gross, This American Life with Ira Glass, Diggnation and Radio Lab are so much more fulfilling than listening to a monotone news channel in which the anchors lack much of the charisma and flow that you will get with these personalities.
Now, I will sing a different note-LaDuca character shoes-I think it is a D flat-hehe. I have a strong love hate relationship with these shoes. On the one hand, they make your feet look beautiful and you have a lot more range and control in your feet. On the other hand, the leather is very fine, soft italian leather that breaks easily. My current pair of LaDucas have broken in five different spots. After they broke the first time, I brought them to the Capezio shop to have them mended for $40. he guaranteed that this mend would last for years-not so much. I found out after the fact that you can bring your broken LaDuca shoes into the Laduca shop on 9th ave in midtown, and Phil or one of his assistants will fix the shoes for about $15. I wish I had known about this before. I don't think that he always did this, but considering how easily the shoes break, I think it is a nice gesture.
I can't tell you how many times I have been at an audition during which a dancer has hobbled off of the dance floor after one of the straps on their LaDucas has snapped. A snapped strap is not a good thing in any sense of the phrase (especially when you are in junior high, and the boys think it is the an awesome way to flirt by snapping your strap that you might not have had the year before...boys have cooties! :o) Anyways, LaDuca shoes are kind of like pointe shoes in the sense that they need to be replaced very often if you dance a lot in heels. I was in David Marquez' musical theatre class the other day, and I was in fourth position plea rolling my upper body down to my knees when the inside snap of my left LaDuca snapped. With all of my weight forward on my left foot, my foot remained stuck to the humid floor as my knee rotated inward hopelessly toward the broken strap. At this moment, I joined the many "my LaDuca did me wrong" veterans of the past and hobbled off the dance floor ripping the culprit off of my left foot.
I sat and watched the final fifteen minutes of class, which was a wonderfully dynamic combination set to the voice of Ella Fitzgerald. David Marquez gave us some great advice in this class, which seems very simple and obvious, but I think all of us need to be reminded of this at times: "Don't fake it! If you are not actually enjoying yourself and in the moment, it is very obvious and un-enjoyable for the audience to watch." He told us that we might not be reaching our goals simply because we are faking it and making funny faces that we don't really mean while we dance. He told us that if we are getting hired by faking it, we should question the people who are hiring us. This made me chuckle out loud. The next thing I did (before becoming a broken LaDuca veteran) was look at my face in the mirror while I danced. I know that this definitely took me out of the moment, but, don't lie, you would do the same thing after a teacher gives a blanket critique like this one.
As I sat there in the back after hobbling off of the floor, I thought about the fact that I probably needed to invest in a pair of sturdier Capezios for class and rehearsal purposes. Your beautiful LaDucas could break when you least expect it, so I think that it is smart to save your LaDucas for auditioning and performing only.
I knew that my injury, thankfully, didn't seem to be that bad (just a minor twist), but it got me to thinking about what I would do if I injured myself badly enough that I couldn't dance anymore. Coincidentally, I got an email later that day from the lovely Eva about Cedar Lake Ensemble's contribution to the Career Transition For Dancers this coming season. A certain portion of each ticket that they sell will go to this organization. This is so wonderful because so many dancers forego college because of the youth factor of having a dance career. Especially in the company world, once you graduate high school, you sometimes only have 10-15 years to have a professional career. So, if a dancer injures oneself, it is so beneficial to have an organization help you financially and psychologically through the transition into a new career. Many of us prefer to stay in the world of dance by teaching and choreographing, but this isn't for all of us. Please educate yourself about this blessing of an organization. www.careertransition.org
Speaking of short careers, I was in ballet class the other day with Irene Kent, and she told me that I should start practicing a more American style ballet in comparison to the Russian Vaganova that I have been working on. Basically, her opinion, which has been proved statistically time and again here in America, is that American ballet dancers tend to have longer careers than Russian ballet dancers. The Russian ballet is very famous for their broad chest that is very expressive because of the training of the upper body that includes the "closing" of the upper back by pressing down the shoulders and pushing the shoulder blades very close together. This is aesthetically breathtaking as the females chest seems infinitely expressive. The problem with this technique, she says, which makes perfect biological sense, is that the spine is shortened in this process. In American ballet, one is trained to elongate the spine by pushing the shoulder blades away from one another, therefore, creating as much surface area as possible on the upperback. By doing this, lifting the spine upwards by reaching the head toward the sky and pulling up the tummy by shooting the belly button "underneath" the rib cage, you get a much longer, healthier spine. Also, Irene says that the weight is a lot more forward in American ballet. The Russians' pinching of the shoulders and, hence, arching the back, causes the weight to shift back slightly. Apparently, the Russians have much shorter careers on average...so, considering I just hurt my knee, I think I should focus more on the American way...although, I will continue taking Natayla Stavros vaganova ballet class... I will just inject a little American into her Russian-making a healthy American dominant American-Russian hybrid!
Before I go, I want to say that today I was inspired by Marc Robin. He is a choreographer/director, who I have auditioned for four times this year! He works so much all around the country, and I always get a feeling of peace when I am in the room with him. He is always so happy. I think that he must have the Kathleen Marshall recipe that I talked about in my last blog, which produces health and happiness even when directing and choreographing, which could be an overwhelming burden for some. That recipe is 1 part method along with their 1 part free-spirited creativity.
Gotta have the method and madness be equal...otherwise...
.
.
.
geronimo!!
I think friend is the correct word here. I truly think that those whose podcasts and blogs you follow become friends. These are people who, when listened to at least a few times a week, become more than acquaintances in your life. As they laugh and have conversation with the person whom they are interviewing, you feel like more than just a voyeuristic fly on the wall-you start to feel like you are in that room with them, relaxing and silently participating in the conversation. The same is true for some of our favorite television shows ( I am going to pretend as if I watch TV for a moment). You get hooked on a series because you fall in love with the characters, and you want to spend a portion of each evening "hanging" out with them. They are worth it to you. This is why I think a podcast such as Fresh Air with Terri Gross, This American Life with Ira Glass, Diggnation and Radio Lab are so much more fulfilling than listening to a monotone news channel in which the anchors lack much of the charisma and flow that you will get with these personalities.
Now, I will sing a different note-LaDuca character shoes-I think it is a D flat-hehe. I have a strong love hate relationship with these shoes. On the one hand, they make your feet look beautiful and you have a lot more range and control in your feet. On the other hand, the leather is very fine, soft italian leather that breaks easily. My current pair of LaDucas have broken in five different spots. After they broke the first time, I brought them to the Capezio shop to have them mended for $40. he guaranteed that this mend would last for years-not so much. I found out after the fact that you can bring your broken LaDuca shoes into the Laduca shop on 9th ave in midtown, and Phil or one of his assistants will fix the shoes for about $15. I wish I had known about this before. I don't think that he always did this, but considering how easily the shoes break, I think it is a nice gesture.
I can't tell you how many times I have been at an audition during which a dancer has hobbled off of the dance floor after one of the straps on their LaDucas has snapped. A snapped strap is not a good thing in any sense of the phrase (especially when you are in junior high, and the boys think it is the an awesome way to flirt by snapping your strap that you might not have had the year before...boys have cooties! :o) Anyways, LaDuca shoes are kind of like pointe shoes in the sense that they need to be replaced very often if you dance a lot in heels. I was in David Marquez' musical theatre class the other day, and I was in fourth position plea rolling my upper body down to my knees when the inside snap of my left LaDuca snapped. With all of my weight forward on my left foot, my foot remained stuck to the humid floor as my knee rotated inward hopelessly toward the broken strap. At this moment, I joined the many "my LaDuca did me wrong" veterans of the past and hobbled off the dance floor ripping the culprit off of my left foot.
I sat and watched the final fifteen minutes of class, which was a wonderfully dynamic combination set to the voice of Ella Fitzgerald. David Marquez gave us some great advice in this class, which seems very simple and obvious, but I think all of us need to be reminded of this at times: "Don't fake it! If you are not actually enjoying yourself and in the moment, it is very obvious and un-enjoyable for the audience to watch." He told us that we might not be reaching our goals simply because we are faking it and making funny faces that we don't really mean while we dance. He told us that if we are getting hired by faking it, we should question the people who are hiring us. This made me chuckle out loud. The next thing I did (before becoming a broken LaDuca veteran) was look at my face in the mirror while I danced. I know that this definitely took me out of the moment, but, don't lie, you would do the same thing after a teacher gives a blanket critique like this one.
As I sat there in the back after hobbling off of the floor, I thought about the fact that I probably needed to invest in a pair of sturdier Capezios for class and rehearsal purposes. Your beautiful LaDucas could break when you least expect it, so I think that it is smart to save your LaDucas for auditioning and performing only.
I knew that my injury, thankfully, didn't seem to be that bad (just a minor twist), but it got me to thinking about what I would do if I injured myself badly enough that I couldn't dance anymore. Coincidentally, I got an email later that day from the lovely Eva about Cedar Lake Ensemble's contribution to the Career Transition For Dancers this coming season. A certain portion of each ticket that they sell will go to this organization. This is so wonderful because so many dancers forego college because of the youth factor of having a dance career. Especially in the company world, once you graduate high school, you sometimes only have 10-15 years to have a professional career. So, if a dancer injures oneself, it is so beneficial to have an organization help you financially and psychologically through the transition into a new career. Many of us prefer to stay in the world of dance by teaching and choreographing, but this isn't for all of us. Please educate yourself about this blessing of an organization. www.careertransition.org
Speaking of short careers, I was in ballet class the other day with Irene Kent, and she told me that I should start practicing a more American style ballet in comparison to the Russian Vaganova that I have been working on. Basically, her opinion, which has been proved statistically time and again here in America, is that American ballet dancers tend to have longer careers than Russian ballet dancers. The Russian ballet is very famous for their broad chest that is very expressive because of the training of the upper body that includes the "closing" of the upper back by pressing down the shoulders and pushing the shoulder blades very close together. This is aesthetically breathtaking as the females chest seems infinitely expressive. The problem with this technique, she says, which makes perfect biological sense, is that the spine is shortened in this process. In American ballet, one is trained to elongate the spine by pushing the shoulder blades away from one another, therefore, creating as much surface area as possible on the upperback. By doing this, lifting the spine upwards by reaching the head toward the sky and pulling up the tummy by shooting the belly button "underneath" the rib cage, you get a much longer, healthier spine. Also, Irene says that the weight is a lot more forward in American ballet. The Russians' pinching of the shoulders and, hence, arching the back, causes the weight to shift back slightly. Apparently, the Russians have much shorter careers on average...so, considering I just hurt my knee, I think I should focus more on the American way...although, I will continue taking Natayla Stavros vaganova ballet class... I will just inject a little American into her Russian-making a healthy American dominant American-Russian hybrid!
Before I go, I want to say that today I was inspired by Marc Robin. He is a choreographer/director, who I have auditioned for four times this year! He works so much all around the country, and I always get a feeling of peace when I am in the room with him. He is always so happy. I think that he must have the Kathleen Marshall recipe that I talked about in my last blog, which produces health and happiness even when directing and choreographing, which could be an overwhelming burden for some. That recipe is 1 part method along with their 1 part free-spirited creativity.
Gotta have the method and madness be equal...otherwise...
.
.
.
geronimo!!
May 1, 2008
Boogie Woogie Bugle Girl of CompaNYC!
Kathleen Marshall is such an inspiration. I love when I walk into a room to audition for someone, and not only are they expressing viv and talent, but also intelligence and intense focus. I auditioned as a dancer for the Broadway tour of Grease yesterday, and I was lucky enough to have been in the presence of all of these qualities. It is so great to walk away from an audition feeling like you have grown even if you don't get the job because of a person in that room who inspires you.
If you want to get an idea of her energy and her brilliance, check out The Masterworks Broadway Podcast. It interviews Kathleen Marshall and asks her about the choreography and direction of Grease on Broadway. She is very thoughtful and informative in all of her answers. I am so inspired when I meet someone who uses so much method along with their free-spirtited creativity. I think that this is a necessary recipe for someone who is going to direct and choreograph a show and be somewhat sane in the end. Check out that podcast, and then get inspired by Marshall!
In this industry, it is easy to lose sight of the "magic" of creation at times. One way to inject a little magic back into your life is to find the shiny star-like people who you can focus your energy on, become inspired by them and grow grow grow up up up toward the starry sky of super-constellations like Marshall, Wayne Cilento, Rob Ashford, Noah Racey and Obediah Wright.
Another podcast that is very dancer friendly (but doesn't show up as frequently as I would like) is The Great Dance Audio Podcast-Interviews with Eva Yaa Asantewaa. She has held interviews with a lot of great modern dance greats such as Fran Kirsmer and Stephen Greco, the new executive director of Dance Theater Workshop. This one is great for those of you going into the concert dance world.
So, the Grease audition went fantastically. First off, I woke up early in the morning to prepare. You only go to a Broadway dance call once not having put some serious thought into your outfit. I know that this sounds superficial, but sometimes an outfit that not only puts you in the right period (in this case 50's or 60's) but also makes you pop a little color wise is going to seriously assist you in getting past the first cut. In this case, the casting people were looking for some solid technique in the first cut, but I think that my 50's outfit helped me to stick out a little. I think your appearance and choice of outfit has a direct effect on the way that you perform at an audition because 99% of the time, you are performing for yourself and 5 or 6 other girls next to you in a mirror. If you aren't impressed with what you see, chances are you won't perform very impressively. Audition rule number one: always dress to impress!
After I danced once, they asked me to come back at 1:00 PM to sing ( it was 10:30 AM at this point). I was thinking about going home and having lunch, but then there is the hour and a half commute factor and also the "watching how much is in my stomach before I sing" factor. This is always a tricky equation-the "what to do before I sing" equation. If I have too much in my tummy, I don't have as much breath support, so I am not going to have a very good audition in that case. I can't eat any dairy before I sing, which is very sad because I could live soley on dairy products and be a very happy person-a very overweight happy person-I like fat in my dairy:o) Also, eggs produce mucus as well...I know this is insane! So, basically, my breakfast the morning of an audition consists of tea, soymilk and a couple of slices of dairy free, egg free bread with jam. Believe me, I look forward to the weekend when I can "splurge" a little on some eggs and dairy.
Anyways, let me take you back from the dairy tangent. I decided to hang in the city while I waited for my singing callback for Grease and buy new pointe shoes to get ready for the Radio City audition that is coming up. I am 5'4" tall, and I came to the realization a while ago that I would never have the luxury of being a Rockette in the winter and be able to live on unemployment for the rest of the year while I auditioned for Broadway shows (and it is a good unemployment check). So, every May I start working on pointe again to audition for a role as a "back up dancer" in the Radio City show. I recently saw the Christmas show in Nashville when I was on tour, and I realized that there are quite a few roles in the back up dancer corp that wear big bear costumes while on pointe. I came to the realization that this would be the role that I would get hired for. This is OK with me.....the bears are actually ta huge hit! They have these big life-like eyes, and they come out on stage during different parts of the show dressed up like caricatures of different ethnicities.
Anyways, Radio City auditions in NYC are in three weeks, so I need to strengthen my pointe work as much as possible before then. OK, so after buying pointe shoes (Sansha Premiere, which has a long vamp that I love), I walk back to Ripley Grier Studios for the singing portion. I end up being last. Usually, I don't mind being last for the obvious reason of them not forgetting you as easily, but this time was a little difficult because I could hear every person singing clearly through the door, and everyone sounded amazing! They were asking some people for a second, more legit song after the pop song they prepared for it. It is hard having this knowledge before you go into the room yourself just in case you don't get asked for a second choice.
When I went into the room, I sang "It's My Party" and then, after a long awkward silence, Kathleen asked me if I had anything else to sing. Phew! Yes, I have "Jimmy" from Thoroughly Modern Millie. I sing it well...though, it is never as good as when I practice at home. I walk out of the room, and five minutes later, they ask for a polaroid shot of me!! This is great news. This means that they are considering me for a role in the ensemble!! There will be at least two more call backs I am sure, but I will keep you updated on that.
So, now I will rant on the subject of the importance of dancers' voices. I think a decade ago, this may have not been the case, but Broadway in the current millenium demands a versatile dancer with voice and acting skills almost if not as strong as their dance skills. If you are a dancer who is considering going into musical theatre, please start studying voice and acting now along with keeping strong in your all of the dance disciplines. The most versatile dancer is going to work the most, and if you are shooting for the stars of Broadway, the casting directors would prefer that you are capable of understudying at least one of the characters in the show. This can be frustrating for many dancers who have spent their lives training in musical theatre dancing, but then get to NYC and realize that they barely have one adequate song to sing as they stare at the other Equity girls who have music audition books that look like Brittanicas. Take a long look at the ensembles in any of the shows on Broadway right now. The ensembles are not very big, and most members of the ensemble play minor characters in addition to their dancing and singing and/or understudy principle roles.
If you don't plan on going to college for musical theatre, make sure to get a vocal coach who is reputable (maybe they have students on Broadway, so you know that they are giving you advice that is working for others). I have been in for A Chorus Line a couple of times now, and each time Baayork Lee gets on her soap box about the equal importance of ballet, voice and acting in this show. I even sang for Patrick, the musical director of A Chorus Line, the last time I was seen for the show, and he asked me specifically who I was studying voice with. They all are on your side and want you to succeed, it is just your responsibility to hold up your end of the deal-the deal being "we will employ you if you are employable". Here are some highly recommend voice coaches :
Aaron Hagan-He is know nationally for his technique, so it is hard to get a private lesson with him. He also teaches master classes at Chelsea Studios frequently. Aaron has many students on Broadway including Judy in A Chorus Line on Broadway.
Adam Roebuck-Adam's has a very unique approach to understanding the Broadway sound. He also has many students on Broadway including Connie in A Chorus LIne. Adam teaches half hour private lessons, which is good for those of us on the go and a little more economical.
Dan Manjovi- Dan teaches at HB Studios and also at his private studio. He is a Julliard grad, and is also a talented songwriter. You can check out his album here.
An interesting point that I was recently discussing with a voice teacher is the fact that dancers are always put on one of the alto parts in a musical. The logic here is that dancers don't have as much training. Therefore, they don't have the training to sing the high Cs in a chorus. The irony here is that the alto lines are the most difficult harmonically in most cases. In White Christmas, the alto line in I Love a Piano was very difficult. I have become much better at harmony after singing alto in a few shows, and something that has helped me immensely with harmonizing is my boy's skills floating around the apartment. He plays the trombone, and he is very talented when it comes to reading music and harmonizing. He is always singing the harmony with songs as they play on our HiFi at home. It is essential that a dancer has a basic understanding of harmony for these reasons.
I am actually attending a call back for a group called American Belles. This amazing three girl show brings song and dance to prestigious events "honoring the United States Military and treasured Veterans" traveling around the city, the country and internationally. For the next call back, I have to sing the Trolley Song (you, know Judy Garland's famous song from Meet Me in St. Louis) while I tap dance, sing a country song and learn the middle (second soprano) part harmony of Boogie Woogie Bugle Boy. I think that this is such a wonderful cause, so I am putting a lot of energy into preparing for this audition.
She was some boogie woogie bugle girl of CompaNYC!
If you want to get an idea of her energy and her brilliance, check out The Masterworks Broadway Podcast. It interviews Kathleen Marshall and asks her about the choreography and direction of Grease on Broadway. She is very thoughtful and informative in all of her answers. I am so inspired when I meet someone who uses so much method along with their free-spirtited creativity. I think that this is a necessary recipe for someone who is going to direct and choreograph a show and be somewhat sane in the end. Check out that podcast, and then get inspired by Marshall!
In this industry, it is easy to lose sight of the "magic" of creation at times. One way to inject a little magic back into your life is to find the shiny star-like people who you can focus your energy on, become inspired by them and grow grow grow up up up toward the starry sky of super-constellations like Marshall, Wayne Cilento, Rob Ashford, Noah Racey and Obediah Wright.
Another podcast that is very dancer friendly (but doesn't show up as frequently as I would like) is The Great Dance Audio Podcast-Interviews with Eva Yaa Asantewaa. She has held interviews with a lot of great modern dance greats such as Fran Kirsmer and Stephen Greco, the new executive director of Dance Theater Workshop. This one is great for those of you going into the concert dance world.
So, the Grease audition went fantastically. First off, I woke up early in the morning to prepare. You only go to a Broadway dance call once not having put some serious thought into your outfit. I know that this sounds superficial, but sometimes an outfit that not only puts you in the right period (in this case 50's or 60's) but also makes you pop a little color wise is going to seriously assist you in getting past the first cut. In this case, the casting people were looking for some solid technique in the first cut, but I think that my 50's outfit helped me to stick out a little. I think your appearance and choice of outfit has a direct effect on the way that you perform at an audition because 99% of the time, you are performing for yourself and 5 or 6 other girls next to you in a mirror. If you aren't impressed with what you see, chances are you won't perform very impressively. Audition rule number one: always dress to impress!
After I danced once, they asked me to come back at 1:00 PM to sing ( it was 10:30 AM at this point). I was thinking about going home and having lunch, but then there is the hour and a half commute factor and also the "watching how much is in my stomach before I sing" factor. This is always a tricky equation-the "what to do before I sing" equation. If I have too much in my tummy, I don't have as much breath support, so I am not going to have a very good audition in that case. I can't eat any dairy before I sing, which is very sad because I could live soley on dairy products and be a very happy person-a very overweight happy person-I like fat in my dairy:o) Also, eggs produce mucus as well...I know this is insane! So, basically, my breakfast the morning of an audition consists of tea, soymilk and a couple of slices of dairy free, egg free bread with jam. Believe me, I look forward to the weekend when I can "splurge" a little on some eggs and dairy.
Anyways, let me take you back from the dairy tangent. I decided to hang in the city while I waited for my singing callback for Grease and buy new pointe shoes to get ready for the Radio City audition that is coming up. I am 5'4" tall, and I came to the realization a while ago that I would never have the luxury of being a Rockette in the winter and be able to live on unemployment for the rest of the year while I auditioned for Broadway shows (and it is a good unemployment check). So, every May I start working on pointe again to audition for a role as a "back up dancer" in the Radio City show. I recently saw the Christmas show in Nashville when I was on tour, and I realized that there are quite a few roles in the back up dancer corp that wear big bear costumes while on pointe. I came to the realization that this would be the role that I would get hired for. This is OK with me.....the bears are actually ta huge hit! They have these big life-like eyes, and they come out on stage during different parts of the show dressed up like caricatures of different ethnicities.
Anyways, Radio City auditions in NYC are in three weeks, so I need to strengthen my pointe work as much as possible before then. OK, so after buying pointe shoes (Sansha Premiere, which has a long vamp that I love), I walk back to Ripley Grier Studios for the singing portion. I end up being last. Usually, I don't mind being last for the obvious reason of them not forgetting you as easily, but this time was a little difficult because I could hear every person singing clearly through the door, and everyone sounded amazing! They were asking some people for a second, more legit song after the pop song they prepared for it. It is hard having this knowledge before you go into the room yourself just in case you don't get asked for a second choice.
When I went into the room, I sang "It's My Party" and then, after a long awkward silence, Kathleen asked me if I had anything else to sing. Phew! Yes, I have "Jimmy" from Thoroughly Modern Millie. I sing it well...though, it is never as good as when I practice at home. I walk out of the room, and five minutes later, they ask for a polaroid shot of me!! This is great news. This means that they are considering me for a role in the ensemble!! There will be at least two more call backs I am sure, but I will keep you updated on that.
So, now I will rant on the subject of the importance of dancers' voices. I think a decade ago, this may have not been the case, but Broadway in the current millenium demands a versatile dancer with voice and acting skills almost if not as strong as their dance skills. If you are a dancer who is considering going into musical theatre, please start studying voice and acting now along with keeping strong in your all of the dance disciplines. The most versatile dancer is going to work the most, and if you are shooting for the stars of Broadway, the casting directors would prefer that you are capable of understudying at least one of the characters in the show. This can be frustrating for many dancers who have spent their lives training in musical theatre dancing, but then get to NYC and realize that they barely have one adequate song to sing as they stare at the other Equity girls who have music audition books that look like Brittanicas. Take a long look at the ensembles in any of the shows on Broadway right now. The ensembles are not very big, and most members of the ensemble play minor characters in addition to their dancing and singing and/or understudy principle roles.
If you don't plan on going to college for musical theatre, make sure to get a vocal coach who is reputable (maybe they have students on Broadway, so you know that they are giving you advice that is working for others). I have been in for A Chorus Line a couple of times now, and each time Baayork Lee gets on her soap box about the equal importance of ballet, voice and acting in this show. I even sang for Patrick, the musical director of A Chorus Line, the last time I was seen for the show, and he asked me specifically who I was studying voice with. They all are on your side and want you to succeed, it is just your responsibility to hold up your end of the deal-the deal being "we will employ you if you are employable". Here are some highly recommend voice coaches :
Aaron Hagan-He is know nationally for his technique, so it is hard to get a private lesson with him. He also teaches master classes at Chelsea Studios frequently. Aaron has many students on Broadway including Judy in A Chorus Line on Broadway.
Adam Roebuck-Adam's has a very unique approach to understanding the Broadway sound. He also has many students on Broadway including Connie in A Chorus LIne. Adam teaches half hour private lessons, which is good for those of us on the go and a little more economical.
Dan Manjovi- Dan teaches at HB Studios and also at his private studio. He is a Julliard grad, and is also a talented songwriter. You can check out his album here.
An interesting point that I was recently discussing with a voice teacher is the fact that dancers are always put on one of the alto parts in a musical. The logic here is that dancers don't have as much training. Therefore, they don't have the training to sing the high Cs in a chorus. The irony here is that the alto lines are the most difficult harmonically in most cases. In White Christmas, the alto line in I Love a Piano was very difficult. I have become much better at harmony after singing alto in a few shows, and something that has helped me immensely with harmonizing is my boy's skills floating around the apartment. He plays the trombone, and he is very talented when it comes to reading music and harmonizing. He is always singing the harmony with songs as they play on our HiFi at home. It is essential that a dancer has a basic understanding of harmony for these reasons.
I am actually attending a call back for a group called American Belles. This amazing three girl show brings song and dance to prestigious events "honoring the United States Military and treasured Veterans" traveling around the city, the country and internationally. For the next call back, I have to sing the Trolley Song (you, know Judy Garland's famous song from Meet Me in St. Louis) while I tap dance, sing a country song and learn the middle (second soprano) part harmony of Boogie Woogie Bugle Boy. I think that this is such a wonderful cause, so I am putting a lot of energy into preparing for this audition.
She was some boogie woogie bugle girl of CompaNYC!
Subscribe to:
Posts (Atom)
