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Beyond Entertaining
“Everybody Move,”
touts a promo video for the Move Beyond tour from Derek and Julianne Hough, the dynamic brothersister duo. And that’s exactly what happens during this thrill ride of a performance! From tapping their feet in the seats to standing and clapping to the beat, audience members were in a frenzy at the Los Angeles tour stop we attended. Upbeat contemporary numbers meet throwback pieces that pay tribute to their idols, and that diversity of style and choreography makes for a compelling night out with two of the most entertaining stars today!
Photo by Brian Bowen Smith
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MUSTlist
the
RESTLESS CREATURE: WENDY WHELAN
MUST SEE
In Theaters this Summer
FEATURING: WENDY WHELAN, DIRECTED BY: LINDA SAFFIRE & ADAM SCHLESINGER WHAT WE LOVED IS THAT THE FILM IS ALWAYS MOVING – HANDS, FEET, INTERVIEWS WITH CITIES PASSING BY BEHIND… MS. WHELAN TAKES US ON A JOURNEY THROUGH HER LAST SEASON AT NYCB. IT’S A RAW, INSPIRING PIECE THAT LEAVES YOU FEELING AS THOUGH YOU’RE JUST A STEP INTO THE WINGS, WATCHING FROM BACKSTAGE.
RESTLESS CREATURE OFFERS AN INTIMATE PORTRAIT OF PRIMA BALLERINA WENDY WHELAN AS SHE PREPARES TO LEAVE NEW YORK CITY BALLET AFTER A RECORDSETTING THREE DECADES WITH THE COMPANY.
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World of Dance It’s Hot!
THE COMPETITION IS HEATING UP ON WOD! TUNE INTO NBC TO SEE ALL AGES, ALL STYLES, ALL DANCERS BATTLE IT OUT FOR THE TITLE!
MUST ATTEND
Hot Summer Nights!
TV’S HOTTEST SHOW IS BACK ON TOUR ACROSS AMERICA THIS SUMMER IN DANCING WITH THE STARS: LIVE! – HOT SUMMER NIGHTS. THIS ALL-NEW PRODUCTION SHOWCASES EVERY TYPE OF BALLROOM AND MODERN DANCE INCLUDING SIZZLING GROUP NUMBERS, STEAMY DUETS AND OVER THE TOP ORIGINAL PIECES. SPECIAL GUEST STAR, SEASON 24 WINNER RASHAD JENNINGS.
MUST WATCH
Courtesy of Paul Kolnick, Courtesy of NBC, Courtesy of ABC DWTS, ©2017 Fox Broadcasting Co. CR: Adam Rose/FOX
MUST TUNE IN!
IT’S BAAAAAAAACK! SO YOU THINK YOU CAN DANCE RETURNED FOR SEASON 14 THIS SUMMER, AND INSIDE DANCE GOT A SNEAK PEEK OF THE FINALISTS DURING “ACADEMY WEEK” IN LOS ANGELES. SOME OF OUR FAVORITE ALL STARS ARE BACK (INCLUDING ALLISON HOLKER!) AND THE COMPETITORS ARE SIMPLY FIERCE. LOOK FOR BONUS COVERAGE OF THE SEASON ON OUR ALL-NEW WEBSITE, INSIDEDANCE.COM!
Making a splash in Vegas! From permanent spectaculars, like Cirque du Soleil™ and Le Reve®, to resident shows by musical legends, to Broadway-caliber productions, Las Vegas has become one of the mega-entertainment capitals of the world. That’s led to a tremendous number of performance arts jobs, providing incredible opportunities for dancers to perform under the bright lights of some of the biggest stages. The team at Inside Dance has selected some of our favorite dancers from Vegas productions for our cover story…
Viva Las Vegas!
...The Dance Again world tour was the very first time Jennifer Lopez took her concert internationally. Dancers and musicians were brought in from around the world to represent her music and show. She called those 10 dancers “the perfect 10... Tell us about your experience working with Jennifer both on tour and also in her show Jennifer Lopez: All I Have at The AXIS Planet Hollywood - what has been the biggest surprise (and challenge) to you over the years? We live in a day and age where human and personal connection has been replaced with “the current vibe” or “latest trend” from YouTube or emphasis is more on hits and views. My motto has always been to “stay ready so you don’t have to get ready.” I still train, workout, keep my look current, and make sure I have fresh ideas. I’m always aware of the evolution of dance and entertainment. However, that still doesn’t guarantee a position on a tour, let alone in this business - period. So the fact that I was so blessed with the opportunities of touring the world with an entertainment icon - Jennifer Lopez – and now being a creative puzzle piece to her very own Las Vegas residency is surreal.
Take us through the audition and creative process - skills, feelings, nerves - what was the best part? The most difficult? My first time auditioning for Jennifer Lopez was for her first co-headlining tour En Concierto. It was at the Hollywood Campus in California and over 800 guys from all over the world came out for blood. In our world, that means you hold nothing back, from your look, your skill, your headshots, personality, etc. The audition was over six hours long and they were only looking for three dancers at the time. She was there for the callback and to my surprise they saw something in an African American college boy from Texas with what only I thought to be an impressive resume at the time. If you ever want to be given a reality check, come to LA for an audition. There will always be someone better than you are. It has by far been my greatest challenge in my career to date and helped me grow and become stronger as a performer and not just see myself as a dancer.
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You Got This! What’s your weekly schedule? How do you stay healthy and balance the show and Vegas lifestyle now that you are a happily married man?! Maintaining a healthy lifestyle while on the Las Vegas strip is almost impossible. All of the dancers come to Vegas ready. Bodies are tight and right, skin is good, joints and ligaments are oiled up. Then a week in Vegas and it all begins to change! So now a year into the residency, we’ve learned the tricks of the trade. Jennifer introduced me to my now wife, Pia Toscano, during her “AKA” summer promo tour not knowing she was aiding in a life-changing moment. Pia and I met each other at a time we both thought we needed everything but a relationship. So now about a year in, we both understand the importance of a balanced life. Before Pia, my goal was “the outcome,” now we’ve both learned the importance of enjoying the journey.
The Show:
Jennifer Lopez: All I Have
The Artist:
Jimmy R.O. Smith
Photos:
Courtesy Jennifer Lopez: All I Have at The AXIS Planet Hollywood
What are three things you’d offer as advice to any dancer about auditioning for a show of this magnitude in Vegas. TRAIN!! TRAIN!! TRAIN!!! Take class, get great headshots and make sure you are in great physical shape - internally and externally - to be prepared for each opportunity. Find what you are great at and make it greater. I always say, “I will always be my best and never be the weakest link.” What’s the last thing you say to yourself before you step on stage to perform? “You Got This!!!”
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Denise Faye Creative Director and Supervising Choreographer “There’s a reason why she’s Cher. She’s smart, funny, courageous beyond courageous. The good news is, I feel like we have that shared aesthetic to make something fabulous together…”
From School of American Ballet to Chicago, Burlesque and to Vegas... do you feel you’ve led a “dream” life and career? I feel like I’ve been lucky. Anyone who pursues their passion and can actually make a living at it and can work with some of the best people in the industry - which I feel like I’ve had the opportunity to do so – literally from ballet to Broadway to LA to Vegas, I’ve been very blessed that way. I am surrounded by amazing people, talent and creativity. I really feel like that has shaped me to no end. What separates you as a choreographer? I’m not spending too much time thinking about me versus someone else. But, what I’m asked with some frequency is, ‘what’s my niche?’ And, it’s possibly the same thing but not… I consider myself, ‘Fosse Meets Today...’ so what I like to do is have traditional lines, history of shape and storytelling depth, and then I layer it with “today” to keep it fresh. Tell us about working with Cher. The collaboration, the process, the fun, the work. First of all, she’s spectacular. When you work with people and you have a shared vision, it’s a magical thing that you can see and understand and feel the same thing when you’re discussing an idea. We have that and it makes everything fabulous. When you’re going for the same thing, your efforts and outcome are going to be in the same place. I work with her at home, one-on-one and I love that. I love the design – the imagination part of the process – I love working with the dancers in rehearsal, collaborating with the costume, the lights, the music, everything! All of us – it’s a great team. What advice would you give a dancer looking to audition for a Vegas show like Cher’s? My answer is different for a Vegas show versus something else. For Cher, in Vegas, my answer is incredible technique. You need to be able to point your foot, kick your leg, jump really high, do your turns and come out flawlessly – I look for that - nothing replaces ballet technique and barre work.
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Who are among your most favorite people to work with and the mentors that meant the most in your life? Rob Marshall. Not a day goes by that I don’t think about Rob and what I learned and I include his partner in production and in life, John DeLuca, in that as well. Graciela Daniele. She was a prima ballerina who came to Broadway and added a Latin flair, and was very much about bringing storytelling into dance. It’s such an important part of the landscape and what I do. I have a hard time doing dance for dance sake, I always try and have a story when I’m choreographing. I’ve done a lot of films and for me, getting an actor who isn’t trained in dance to tell a story through dance is a great challenge I love. Michelle Williams as Marilyn Monroe in My Week with Marilyn, Nicole Kidman in Nine, Catherine Zeta-Jones and Renee Zellweger in Chicago… that work is very gratifying to me. Bob Fosse’s work, his legacy… and George Balanchine. When I was a little ballerina in New York City Ballet, he held my hand while choreographing Coppelia… that kind of heritage, learning from those people, means a lot. INSIDEDANCE.COM JULY 2017
Three of a Kind The Show: Classic Cher
The Artists:
Denise Faye, Melanie Lewis Yribar and Sean van der Wilt
Photos by:
Lee Cherry Classic Cher at The Park Theatre
Melanie Lewis Yribar “I need you to reel me in, and make me watch nobody but you.”
What’s your favorite moment in the show? Choreographically and as a dancer, I love “Burlesque.” I was associate choreographer with Denise on the movie and I love that number, it just feels so good. It’s fun and sexy and has that “Fosse” feel to it. My personal favorite moment is singing backup for Cher during “The Shoop Shoop Song.” Standing next to Cher and feeling that energy is just such a fabulous moment. It’s so fun and every night we walk off stage saying, ‘That’s so cool!’ What are you looking for or from in a dancer when you cast, what sets them apart for you? I look for a dancer that has fire. You can tell nothing is going to stop them from getting them the job and being a great performer. I’m looking for something special, a performer that takes you on a ride… so much that you can’t look away. Describe the dynamic between Cher, Denise, Sean and yourself, and your entire Cher “family…” Cher is the coolest lady on the planet. If I could even have an ounce of that coolness and that swagger..! She just makes everyone feel welcome and part of the team. Denise is an amazing, smart director and choreographer and has given me so many opportunities. I just very much enjoy our time together. Sean and I are like brother and sister. We figure it out - we argue, we dance like crazy.
Sean van der Wilt “I never feel like I one hundred percent deserve the place that I’m in, but I work hard for it.”
How did you first meet up with Denise? I was in the movie Burlesque as a dancer. Denise and I connected so fast. I have a big mouth and can’t help but jump in on situations… so, after seeing one of the girls work on choreography and having an idea, I asked Denise if I could do it. She saw me do it and after the fact, after the movie was done, she called me to assist her on jobs. Within a few years, I was Denise’s associate choreographer on pretty much most of her jobs, along with Melanie! Talk about the journey that led to dancing and choreographing for Cher… Denise got the call to work on Cher’s Dressed to Kill tour and we immediately flew out to where the tour was playing at the time. The dancers had already been rehearsing for two months, so we were walking in on interesting territory. The song that Cher wanted to change choreography on was Dressed to Kill. We stepped in with a few days to do it. Cher watched and she loved it. From there, we just started going through the show and changing things, not drastically, but enough
so it was different. From the start, I really wanted to be considered as a dancer on the tour. But, Cher is so loyal to the people who have worked for her in the past. They get first choice if they want to do the job and that’s completely understandable and respectable. I wasn’t considered at the time they were going to put Dressed to Kill back up, but then once the Austria and Switzerland shows happened, Cher knew my work and everything went from there. And now, fast forward to the Classic Cher residency… Denise called and told me the show was going back up in a Vegas venue and Washington D.C. Right away, Cher was like, “I would love for Sean to do this.” On top of that, it kind of bumped up my position towards putting the show together because Denise became the director of the show and I became one of the associate choreographers. They wanted all of the old numbers, but revamped. We did our best and we changed a lot, but it’s classic, so we had to include a lot of the original stuff – which is what people want. It’s “Classic Cher,” you can’t change it!
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TEACHER4TEACHER David Ingram Influences By Christy Sandmaier
Innovate, dance, rap, laugh, and call your Mom more, but not necessarily in that order. These are things you just might see on David Ingram’s syllabus for the semester. Having studied and performed under and alongside some of the best in the ballet business (and beyond) - his resume reads like a who’s who in a playbill - Ingram just completed his first year as Assistant Professor with East Carolina University school of Theatre and Dance. Here, he offers Inside Dance his distinct take on teaching, instinct and art.
Rumor has it you started ballet skateboarding by a studio one day, but what really got you into dance and this amazing career you’ve had? My Mom. I had a pretty significant stutter growing up. Dance was a way for me to express myself without words. I could move however I wanted. Dancing is a tough journey no matter how you look at it. But I wouldn’t change anything that I’ve done to get here. It was absolutely worth it. What are you listening to right now to get inspired? I’ve been listening to music with a lot of space in it for music, if that makes sense, and that can come in a lot things… I’m listening to a lot of rap that my students are giving me and when I do a new work, I’ll give a few of the students a flash drive and they’ll load it up. Sometimes we’ll work from that music and I think their level of ownership and their engagement affects the final product. We center a lot around rap, and its energy and momentum. My students at ECU are all pretty tough. Nothing fazes them, so it’s been good. At the University level, I’m assuming you have students of different levels in the same classroom... as a teacher, how you do plan for that? For me, whether I teach professional dancers, college students, dancers in their mid-to-late teens, or beginners, it’s always the same in that each person in a class is an individual. It is important for me to remember that every student that takes any dance class has the potential to become a great artist. I try to safely challenge the students. They need that on their adventure through class.
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You’ve experienced this as a dancer and a choreographer… talk about the difference between replicating movement from a choreographer versus just dancing/feeling it? When I work with dancers, I am reminded that they are truly in control of the movement and must not doubt themselves. I don’t want dancers to reproduce the movement, I’d rather they experience it as new every time. It’s imperative for me that the dancers’ cognitive work greatly exceeds their own physical work. The body will follow the mind. To quote Jean-Pierre Bonnefoux, “Great dancers have their own internal conductor that plays the symphony of their body.” Related to the previous question, how do you teach something that should just be instinctive to a dancer? That’s a very important question. Patience… for all involved-teacher and dancer (laughs) and questions! Artistically, when speaking about instinct, I feel that it’s essential that dancers hold onto their opinion of their body, movement, and how they exist in their personal Choreutic research. I often find myself telling students in ballet class, “longer, lighter, faster” and find my most effective tool when hoping to cultivate this, is continuing to ask them questions. A positive and respectful dialogue. But what’s really effective is when I tell a bunch of brilliant dad jokes that no one laughs at… and the students’ spines become free. Muscularly this is very important. High levels of dance are hard. Laughter has to be a part of it.
Pictured: A moment from Object/Obstruct, a recent work Ingram helped create.
Dance is changing rapidly, and I know the audience deep down just wants to believe what they see.
David Ingram & Co. David Ingram began his training in Kingsport, Tennessee under Karen Gibbons- Brown. After graduating with honors from Butler University, Mr. Ingram performed with Louisville
Photo credit David Ingram/ East Carolina University
What’s your creative process? What motivates you? This is tough. Arlene Croce said, “Speaking about dance is like nailing Jell-O to the wall.” To keep it short, fiction. I begin by giving myself and the artists unachievable abstract tasks in conceptual form, and hold onto that concept while allowing it to exist in a realistic setting. Maybe in other words, asking dancers to believe completely that their bodies can be anything they need them to be.
Near the end of a new composition as everything settles to the bottom (or reality) is when I see humanity, and not dancers focused on glamour and competition. Within this fragile process, fiction dissolves and fact emerges, and then I believe the dancer. Dance is changing rapidly, and I know the audience deep down just wants to believe what they see.
What does “contemporary” dance mean to you? Contemporary… belonging to or occurring in the present... So after something is performed it’s no longer contemporary dance? So then at one point all dance was contemporary dance? I have contemporary experiences with dance when I watch the works of Jerome Bel, Merce Cunningham, William Forsythe, Wim Vandekeybus, Pina Bausch, Lloyd Newson, Meg Stewart, Mikhail Fokine, Ohad Naharin, and so many others. I wonder if they consider their works Contemporary Dance? Maybe we need a new name? Maybe we should just call it all art?
Ballet under Bruce Simpson and North Carolina Dance Theatre (now Charlotte Ballet) under Jean-Pierre Bonnefoux and Patricia McBride. He has performed the works of such choreographers as George Balanchine, Jean-Pierre Bonnefoux, Val Caniparoli, Sean Curran, Mark Diamond, Nacho Duato, Nicolo Fonte, William Forsythe, Adam Hougland, Sasha Janes, Alun Jones, Alonzo King, Jon Prichard, Andre Prokovsky, Domy Reiter-Sofer, Dwight Rhoden, Choo San Goh, Uri Sands, Ben Stevenson, and Twyla Tharp. David’s choreography has been
What part of David Ingram’s story would surprise people? As a ballet teacher, I find myself asking the question continuously, ‘do we need ballet?’ Who is allowed to do it? Who does it represent? I don’t think ballet is as important as it is sometimes perceived. I believe that everyone has his or her own dance technique inside.
performed at Charlotte Ballet, Fort Wayne Ballet, Chautauqua Institute, and Louisville Ballet. Mr. Ingram also holds an MFA in dance from Hollins University in association with the Forsyth lab in Frankfurt Germany. He is currently an Assistant Professor with East Carolina University school of Theatre and Dance.
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