Archive for the ‘Choosing a dance company’ Category

A Commendation To Dancin’ Boy Moms Everywhere

Sunday, May 13th, 2012

Thiwww.zazzle.coms Mother’s Day I’d like to commend all my readers who are the mothers of dancin’ boys for doing what you do–all of it. It’s a tough job, but someone’s got to do it. While some Dad’s help, even do a lot, as much or more (like my husband), not all of them do. And even if they do, you’re still the dancin’ boy’s mom. And today is Mother’s Day.

I am celebrating Mother’s Day but not engaging in any mothering activities at all. None. Nada. Bubkes.

Well, I did speak to both my kids, who did remember to call me on this auspicious occasion. (Yay. They get a some points.) And Julian did relate some audition information to his father via the speaker option on my phone, since he just returned from Germany last night and hadn’t spoken to him for a while. Oh, and I did relate some audition information about Julian to my sister…and my friends, who were all together sans me :~( , called and asked me questions about Julian…but other than that I’m not doing anything related to being a parent. Oh, well, I’m not doing anything at all or thinking about them after I finish this post. (I swear.)

So, I chose the artwork above (from www.zazzle.com) because dancin’ boy’s moms reach for the starts constantly not for themselves but for their sons. They see their sons as rising stars, and, indeed they are. And we function as their managers, trying to make sure they become stars–professional dancers in their own right.

My son, Julian, is, oh, so close. He and I can almost feel the lights, smell the warm bodies in the seats, hear the applause…

But he isn’t quite there yet. We thought he might be by now, that he’d have a contract in hand. (And maybe you’ve been waiting for the big announcement.) But no. Not yet. (Lot’s of expletives here…) We have been through several weeks of living hell as he tries to complete his audition process. It should have been over last week, but due to some “miscommunications” that really sent us into the fire, we are still stuck waiting–a bit more peacefully, though–until early or mid-week until he can make a decision. He fit one more audition into last week, and that was awesome. (I’ll have so much to share when I can.) But we are exhausted. We’ve had angry words spoken, tearful phone calls as we expressed our fears of losing one contract while waiting for another offer to come in, lots of advice passed along, nasty words texted to me as I was told to…(can’t share that here), many conversations about different options, excited discussions, frustrated emails, and much encouragement shared.

In the midst of all of this, there was the computer that crashed right before Julian had to turn in a paper required for graduation, and the text that said, “I fail. I won’t be graduating.” And then came the long emails I wrote to the teacher…and to SAB asking for validation that he had, indeed, written the paper and had a computer crash (no dog-ate-my-homework story). And the stress of waiting for answers–the fear that he’d be repeating his last year. (But he isn’t, as long as he passed the paper and the rest of his work.)

And there was the last-minute trip home for a company class that yielded no answers. That provided an answer in and of itself.

Stress, stress, stress, stress. Emotions always on the brink of exploding…in a positive or negative way.

And my daughter, the lovely, independent and usually not-needy-at-all costume design student just now becoming a Junior at NYU, has a knack for calling or texting in the midst of the turmoil so I can’t quite totally focus on her accomplishments or  issues despite my best efforts. “Mom, what do you think of this apartment?” “Mom, the check to secure my apartment bounced; I don’t think my checks are linked to my account anymore.” “Mom, my end-of the year project went really well!” (She texted a photo of that project to me that I’d missed and not replied to for several hours because I was writing emails to try and get information on a possible European offer for Julian…Bad Mom.)

One day I stood in the shower and simply surrendered. Things just working out. I couldn’t “fix” any of it. Something “Higher” had to do the work. My son wanted me to bud out. My daughter actually seemed to be handling most things on her own. Time to let go. Time to give it up. Even my dancin’ boy is about at the point (especially now that he’s got his wonder ADD drugs) where he wants (and seems to have more ability) to take control of his own life. And this decision about his career is more his to make than mine (or his Dad’s). Plus, I’m a firm believer that everything works out as it is supposed to. He’ll land where he should professionally. So…time to stop doing so much damn (active) parenting.

Well, we never really stop parenting, do we? But it’s a nice thought. And we do need to let go and let them spread their wings and fly…or…well…dance. And my dancin’ boy is just about ready to do that. Amazing.

So, today, dear dancin’ boy moms, take a break. If you can, don’t:

  • drive your sons
  • encourage your sons
  • hound your sons
  • help your sons
  • advise your sons
  • clean up after your sons
  • cook for your sons
  • watch your sons dance
  • watch videos of your sons dancing
  • help your sons with their homework
  • remind your sons to do anything
  • washing your son’s clothes
  • washing your son’s dance clothes
  • take your son’s to dance class
  • pick up those yucky sweaty dance clothes off the floor
  • clean out your son’s smelly dance bag
  • do anything related to parenting your dancin’ boy if you can help it

Instead, do this: Dance.

Right? Why don’t we dance? Put on some music and shake your booty. Enjoy. Happy Mother’s Day.

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Posted in auditions, Choosing a dance company, Mother's | 6 Comments »

How Young Ballet Dancers Land Company Jobs

Sunday, May 6th, 2012

If you’ve been wondering why I’ve been quiet lately, here’s why: Mum’s the word. I can’t really talk about what’s been going on with Julian–not yet. Why? He’s been auditioning for ballet companies and getting…well…recruited.

Yes, it seems a bit like having a young baseball, basketball, football, or soccer player who is being recruited by a variety of professional teams before he can even consider college. Of course, in Julian’s case, college dropped off the table a while ago. But he’s had days when he couldn’t even study for a test because he kept getting calls form artistic directors.

Now, let me just say that the audition season at the School of American Ballet is a bit longer than it is for the average ballet boy who goes out to auditions. In fact, all the auditions were over and artistic directors simply kept on showing up to watch the Advanced Men’s Division at SAB take class–and then to make offers.

The last have come and gone now, though. And just about all the boys in the Advanced Mens’ Division 17 or older are spoken for. Unless, that is, they have been told they might have an apprenticeship at New York City Ballet. These few boys (and girls) are anxiously waiting to hear if this dream will come true; it seems contracts are not handed out–or not firm offer made–until just before or after Workshop. Those performances are June 3 and 5–long after everyone else has accepted a position.

A few companies are waiting on these kids, hoping against hope that they won’t get a NYCB apprenticeship. A few of these boys might be left with no job if they’ve turned everything else down or artistic directors got tired of waiting and the NYCB apprenticeship doesn’t come through. Peter Martins is the only one who waits until June to decide, keeping many young boys and other artistic directors waiting on his final decision.

Lest you think Julian is one of the boys waiting on Martin’s decision, I will tell you this: He is not. When he first received an offer and he also had his summer intensive scholarship at San Francisco Ballet, where he is supposed to be on the “watch list” for a trainee position, word was sent to Martins. This is normal procedure, so he can say whether or not he wants this boy to hold off for a likely NYCB apprentice position. The message came back that the apprentice spots were spoken for already, and that Julian was “a beautiful dancer who should be dancing. If he has an offer, he should accept it and go dance.”

Julian was very disappointed, as was I. NYCB was his dream job.

(Knowing what you now know, you might surmise that he is, therefore, still making some sort of…um…decision.) Again, mum’s the word.

I can tell you that having a son at SAB is an advantage when it comes to auditioning for companies. There are simply more opportunities–or ones you don’t have to seek out.

As for how many jobs there are, I can tell you that everyone, including the teachers and school director at SAB, agree there are less jobs this year than ever. I guess the economy has taken it’s toll on the ballet industry as well. So, the older boys were all told to audition and to take jobs if they could get them. In fact, even those boys who originally were told they could return next year–like Julian and at least two other boys turning 18 over the summer–have all been told not that they cannot come back. They have all received at least one job offer.

That pretty much cleaned out the older group of boys from the program. (Lots of spots open for next year…)

If you are wondering how young boys land a ballet job, you go to an open audition. Some are held in places like at San Francisco Ballet School, Alvin Ailey or SAB, or at some other large ballet school or dance facility. These are “cattle calls” in some cases; there are lots of boys and girls and it can be harder to get noticed.

If there are no large open auditions, you arrange to take company class as an audition. This means you show up at the ballet company at an arranged date and take class with the company; the artistic director watches and decides.

Contracts are given out each year. Dancers in each company have the option to renew or not to renew. Companies are restricted to some extent as to how many dancers they have, so without attrition, there may not be any spots for new corps dancers. At NYCB, some apprentices were let go this year, for example, and not promoted into the corps. New apprentices will come on. But if there are no corps spots open, no one gets promoted.

That’s it for now. We have lots of stress and drama going on, but it’s all good, and we are all trying to trust that it will all work out for the best. I always do. Julian has always landed in the right place at the right time. I’m sure this first job will be no different.

I should have news within a week…

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Posted in auditions, Ballet, Choosing a dance company, company class | 1 Comment »

Is The Joffrey Right for Your Son? How to Choose a Style and Company

Tuesday, December 27th, 2011

Not long ago I was asked to help promote a documentary film on The Joffrey Ballet that will be released in January. I have a soft spot for The Joffrey, since one of Julian’s YAGP partners, Jeraldine Mendoza, landed a job with this ballet company, so I was quick to respond that I would, indeed, love to help promote the film. However, I asked if there was any way I could get an interview with someone—someone meaning a male dancer, artistic director or choreographer involved with The Joffrey or the film. Well, I struck gold—twice. Both Willy Shives, The Joffrey Ballet dance master, and Adam Sklute, a former Joffrey dancer and Joffrey assistant ballet master/associate artistic director and current artistic director of Ballet West, agreed to answer my questions.

I’m so happy today to offer the superb information on becoming a professional dancer, choosing a style of dance and a dance company, and dancing with The Joffrey ballet offered by Willy and Adam as well as the information on The Joffrey documentary, which you won’t want to miss. You can watch the trailer and read all about the film and the history of the company below. Reading what these two men have to say will make you all the more interested in this unique ballet company.

Let me start by telling you a little bit about these two former Joffrey dancers. Willy Shives began his dance training in his native south Texas before receiving his formal training with the School of American Ballet (where Julian currently is studying) and the Harkness Ballet School on full scholarship in New York. He joined the Joffrey Ballet in 1999 at the invitation of founder and artistic director Gerald Arpino and remained a dancer with the company until 2008, when he assumed the ballet master role.

Adam Sklute enjoyed a 25-year career as a dancer with The Joffrey Ballet, which began as one of the last two dancers hired by Robert Joffrey. He also served as assistant ballet master/associate artistic director with the company before being named artistic director of Ballet West in March 2007. A native of Berkeley, California, Sklute trained at the Oakland and San Francisco Ballet schools and became a member of The Joffrey II company with only three years of formal training.

Now, on to the questions I asked them. You can find the two men’s answers indicated by their initials.

I’ve often heard it said that in ballet, men are just the barre for the women. They make them look good. However, I understand that Joffrey co-founder Gerald Arpino felt it was important to choreograph artistically for men as well as for women. He did several ballets that really showcased the men, rather than looking at them merely as partners to women on stage. What advice would you give young male dancers as they explore the world of dance, different companies and different styles of ballet and seek out a way to express themselves without feeling just like a barre?

AS: I think in this day and age male dancers are taking more and more of the center stage. Both Robert Joffrey and Gerald Arpino championed the male in ballet, but certainly superstars like Mikhail Barishnikov and Rudolph Nureyev helped bring that change about.  Nowadays a male ballet dancer can find fulfilling work anywhere around the world. Ballet has changed a lot over the past few decades.

My son recently decided to attend the School of American Ballet. He previously was interested in contemporary ballet and also attended American Ballet Theatre. When young boys explore different types of choreography and styles of ballet, how can they know what is best for their own ability, strengths and weaknesses, etc.?

AS: If a young boy is interested in ballet then he must start with good strong classical training.  That is the base, and from there he can go in any direction he wishes. A dancer who has had good early classically training can branch out into any style.

Can you give them a few tips to help them figure out where to land when it comes to choosing a style or a company?

AS: First off, it’s what moves you, what inspires you that should dictate what direction you chose to follow. I think making a good assessment of your own strengths and weaknesses in a healthy way also will help determine that.  One’s physical facility is very important for classical ballet (feet, proportions, turn-out, etc.), more so than contemporary or modern dance. So, that may help guild your choice as well.

What three or four tips would you offer young male dancers on how to succeed as a professional male dancer?

AS: “The three Ds”: Desire! Drive! Discipline!  One can have all the talent in the world, but if you do not have the discipline to work, the drive to succeed and the desire to create your art it won’t matter. I started dancing very late, and because I was driven, disciplined and had a great desire to dance I became a professional very shortly after and had a wonderful performing career and a life in my beloved art form of ballet.  If I can do it, anyone can do it.

WS: Make sure have a very strong background in ballet technique.  This will be the strong point in any style of dance.  Take as many jazz and contemporary classes as possible, so you have a good feeling of movement and how to be grounded in your legs.

Most dance companies want dancers that can do it all.  So being that all-around dancer will get you a long way.

As a male dancer you are expected to do all the big jumps and multiple turns, but when it comes to adagio, this is where we are lacking.

Also:

  1. Keep you body strong.  Swimming is the best thing for your over all body strength and flexibility.
  2. Make sure that your adagio is as good as the women or better.  It only makes you a better rounded dancer.
  3. Most of all be very, very—and I stress very—consistence with your work.  Ballet class every day and cross training, like swimming, to keep you in top shape.
  4. Musicality—listen to all types of music. Being very musical is a big part of really being a great dancer.

What makes The Joffrey different from other ballet companies, and does a young ballet dancer looking at companies need to discern the difference between one an another—and prepare differently to audition for them.

WS: The Joffrey Ballet takes dancers that have soul.  The dancers really believe in what they are doing. The company is an all-star dance company.  You might be doing corps work one night and then the lead the next.  This is how The Joffrey Ballet has always worked. It makes for strong dancers that appreciate their art.

When auditioning for a dance company, do a background check on the company. See what ballets they have done, see what ballets they are going to do.  What kind of technique is expected?  What is the vision of the artistic director?

Companies now are not just hiring male dancers because they need a male dancer but [because they need] a male dancer that can really move, has strong ballet technique, is very musical, and has great partnering skills.

Be honest with yourself.  If you don’t have the double tours from 5th to 5th or the flexibility, don’t look at companies that have a strict classical base rep.  Modern and contemporary dance is the most full feeling of the dance art forms, but there is nothing like the challenge of classical ballet.  You really have to love what you are doing and be passionate about your work so you can do whatever it takes to be the best that you can be.

Having heard what these experts have to say, you’ll definitely want to check out Joffrey: Mavericks of American Dance, the first film to chronicle the legendary Joffrey Ballet. It is set to premiere in New York City in January 2012 (location TBA). The world premiere simulcast of the film that will happen throughout the United States on January 28. The link below gives a listing of the cities in which you can watch it to date check the site for updated info):

The feature length documentary takes a look at this groundbreaking cultural treasure, known as the first truly American dance company. Narrated by Tony® and Emmy® Award winner Mandy Patinkin and directed by Bob Hercules (Bill T. Jones: A Good Man), the film documents how the Joffrey revolutionized American ballet by daringly combining modern dance with traditional ballet, and setting it to pop and rock music scores. Following the North American premiere in late January, the film will embark on a theatrical tour to select cities in the U.S. Released through Hybrid Cinema, the documentary is expected to have a DVD release in the first quarter of 2012 as well. For more information, please visit www.joffreymovie.com.

Here’s the trailer:

If you don’t know much about the Joffrey Ballet, here is a bit of historical information. Co-founded in 1956 by visionary teacher Robert Joffrey and dancer Gerald Arpino, who would become their principal choreographer, The Joffrey Ballet began as a DIY dance company of six dancers touring the United States in a borrowed station wagon. What started as a childhood dream quickly grew into one of the world’s most exciting and prominent ballets companies. Together, Joffrey and Arpino transformed the face of dance by merging classical ballet technique with bold new perspectives for edgy new ballets that challenged conventions. Aggressive touring took the Company from school auditoriums across America’s Heartland, to the White House at Jacqueline Kennedy’s invitation, and on to Russia for a month-long tour during the height of the Cold War, and beyond.  They also garnered extensive media attention for their daring originality, which included appearances on The Ed Sullivan Show, the cover of Time magazine, and in major motion pictures such as Save the Last Dance and Robert Altman’s The Company (which is based on the Joffrey).

Joffrey: Mavericks of American Dance weaves a wealth of rare archival footage and photographs along with interviews featuring former and current Joffrey star dancers, showing the full history of the Company from its founding in 1956 to the present. It describes how the Joffrey repeatedly resurrected itself after devastating financial and artistic setbacks and introduced cutting-edge choreographers such as Twyla Tharp, Laura Dean and Margo Sappington to larger audiences.

The film features rare excerpts from many seminal Joffrey works including Astarte, Trinity and Billboards, as well as breakthrough collaborations with choreographers Twyla Tharp (Deuce Coupe), Kurt Jooss (The Green Table) and Leonide Massine (Parade). It also features Kevin McKenzie, Helgi Tomasson, Lar Lubovitch, Ashley C. Wheater, Gary Chryst, Trinette Singleton, Anna Kisselgoff, Adam Sklute, Christian Holder, Dermot Burke, Paul Sutherland, Francoise Martinet, Brunilda Ruiz, Jonathan Watts, Diane Consoer, Sasha Anawalt, and Hedy Weiss.

Julian’s YAGP partner, Jeraldine, is enjoying her first professional job at The Joffrey. She’s had both large and small, corps and lead, roles, just as Willy mentioned, which makes dancing for The Joffrey a very attractive choice for many dancers looking for that first job. Plus, as you can see from the trailer, the repertoire is quite varied interesting.

Like this post? Vote for this blog as the Best Dance Blog of 2012 here: http://danceadvantage.net/2011/12/27/vote-top-blogs-2011/

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