For the 6th year the Dance Council of North Texas and Dallas Summer Musicals bring you the National Tap Dance Celebration, May 22-26, 2012, at The Music Hall at Fair Park.

The performances will take place before this season’s hit Broadway show, Memphis, a tribute to Elvis Presley.

Past year’s we have seen performances by the Hoofin Crew, Buster Cooper, Contemporary Ballet Dallas, Preston Center Dance, Dove Academy of Dance Art, DCNT scholarship recipients and much more!!!

Please remember that this event is FREE!!!!!!!!

Artistic Director Sylvia Waters. Photo: Eduardo Patino

The Artistic Director of Ailey II discusses the company’s roots and Alvin Ailey’s legacy.

The Ailey II Company has been entertaining audiences for nearly 40 years and on Feb. 20 it will be coming to Bass Performance Hall in a show presented by Performing Arts Fort Worth.

Ailey II will perform three works, including Reference Point, Boulevard and Echoes. Newly appointed Artistic Director Designate Troy Powell combines ballet, jazz and contemporary styles with music by Mio Morales in his new work Reference Point. Mina Yoo’s Boulevard is an athletic piece containing contemporary dance and percussive sounds by Michel Macias, Hugues Le Bars, Rene Aubry and Greetje Bijma. Thang Daio’s Echoes depicts haunting memories and is a repertory favorite.

TheaterJones talked to Artistic Director Sylvia Waters, who will be retiring this June after 37 years with the company, about the public’s attraction to Ailey II, the company’s international success and how it is preserving Alvin Ailey’s legacy.

TheaterJones: What can viewers expect from the Ailey II dancers?

Sylvia Waters: The second company of dancers is comprised of young men and women who are emerging artists. They’re all selected from the body of the school. Some of them have been on the fellowship program and some have been with the Ailey Fordham BFA Program. They are very highly skilled, very inspired, very disciplined and very professional. These are dancers who very much want to make their livelihood in the professional dance arena. And when they are with Ailey II they are learning repertoire, working with a number of choreographers with different styles and really honing their performance skills and preparing for the next step.

Was this Alvin Ailey‘s goal when he asked you to lead the company almost 40 years ago?

Yes, he wanted to provide a way for dancers literally to make that leap from the classroom to the stage.

Ailey II in Troy Powell's Reference Point. Photo: Eduardo Patino

To what do you attribute Ailey II‘s staying power?

Well, I think the dancers’ willingness to understand what it takes to be a professional and their commitment and focus on that. Not just going through the motions of being a dancer, but really investing in themselves in being a dancer. And what we do is really tough because they are rehearsing from 12 p.m. to 6 p.m. Monday-Friday during a two-and-a-half month rehearsal period. In the summer they have to take their classes and they don’t have time for very much else. So, they have to be aware that all of this is essential. It comes with the territory. They’re learning to learn, absorbing so much information and learning how to use this information. And their artistic potential is constantly being developed.

Do you think that commitment is lacking in many dancers today?

I don’t think the commitment is lacking. I think the expectation is, you know, “I want it now.” And there is a lot that has to go into it and a lot of time so there is a certain impatience. And there is a certain “I want it yesterday.” There’s no shortcut.

What is Alvin Ailey‘s legacy and what role does Ailey II play in it?

Well, Alvin had a tremendous vision. First of all he wanted to celebrate the African-American heritage and the modern dance tradition. In doing that not only did he choreograph, but he invited other choreographers to set works on dancers in his company thereby providing a range of experiences for his dancers and dance audiences.He really exposed audiences to, I guess in many ways, a reflection of themselves. He really was an advocate of the human condition. That was very important to him. And audiences responded to that. He never felt that dance was a high art. He’s also quoted as saying dance came from the people, it should be given back to the people.

So, in any Ailey dance performance you will see a variety of dance disciplines and styles as well as musical styles. And even in his own choreography he became a very hybrid choreographer. He had a mix of Horton technique which was his base, classical ballet and elements of jazz. And it was really a seamless blending. And as a result it was a very powerful dance and a tapestry of movement and music.

With today‘s dance trend being all about contemporary ballet how does Ailey II adapt to new trends?

Ailey II in Thang Dao's Echoes. Photo Eduardo Patino

Trends are not long lasting. The current trend of ballet and the things that are happening in dance today depends on the choreographer. I select choreographers that first of all are going to be interesting and innovative, that will have a personal voice and that will challenge the dancers. And who will really put in their talents, artistry and value. So it’s your aesthetics that will inform your choices.

We work with a lot of emerging choreographers and they have very wonderful, beautiful and original ideas. You want to keep pace with what is going on because that’s what dancers want to do. So you try to find choreographers who have a sense of the presence and maybe a vision of the future. We also work with seasoned choreographers and we also do Ailey works too. So that’s all very important for the education and development of the dancers. And they embrace it all.

What makes the Ailey II Company stand out in the dance arena?

His path was very clear. First of all he was one of the few if not only early on who thought a modern dance company should be a repertory company. That was common in the ballet field, but not in the modern field. The modern choreographers were usually a single choreographer company. Not Ailey’s. Very early on he invited other choreographers to flush out his repertory. He described his dancer as the total dancer. A dancer who’s proficient in all of these dance disciplines and styles, including classical ballet, modern, jazz and the ethnic dance form. He would say he wanted a dancer with a ballet bottom and a modern top. And you will see elements of these styles in the company’s performance.

This Q&A was originally posted on TheaterJones.com.

Photo: Broadway Dance Center

The director and choreographer of Bring It On: The Musical takes us behind the scenes of the cheer phenomenon.

“This is not a democracy, it’s a cheerocracy.” This is one of the quotes that helped make the movie Bring It On (2000) an instant cheer classic. Now, 11 years and five made-for-TV sequels later, it has found a new competitor: Broadway. And there is no one better to lead the Bring It On: The Musical cheerleading squad to victory than director, choreographer and Tony Award-winner Andy Blankenbuehler.

Blankenbuehler is best known for his choreography on Broadway shows such as 9 to 5 and In the Heights. As a performer Blankenbuehler has appeared in shows such as Fosse, Contact, Man of La Mancha, Saturday Night Fever, Steel Pier, Big and Guys and Dolls. But Bring It On: The Musical marks his first time directing a show. Other team members include writer Jeff Whitty (Avenue Q), composers Tom Kitt (Next to Normal) and Lin-Manuel Miranda (In the Heights), lyricist Amanda Green and orchestrator Alex Lacamoire.

This fresh and funny take on the world of competitive cheerleading makes its area debut opening Dallas Summer Musicals’ 2012 sesaon at the Music Hall at Fair Park tonight, Feb. 14, running through Feb. 26. TheaterJones asks Blankenbuehler what viewers can expect, what it’s like wearing multiple hats and what it takes to make it on Broadway.

TheaterJones: How challenging was it to create a musical based off of a movie?

Andy Blankenbuehler: We had that weight taken off of us early on. Universal Beacon Films had the umbrella title Bring It On and they said we could do absolutely anything we wanted. So we decided to write a piece from scratch. The musical is not actually based on the movie, but rather falls under the umbrella of high school competitive cheerleading in the pop culture world and that social world of high school life. And it’s all consistent with the ethnic rivalries, presence of the music and the idea of national competitive cheerleading. That was sort of our spring board to create our Bring It On.

This is your first time choreographing and directing a show. Was it difficult wearing multiple hats?

It was a huge challenge but the good thing about it was from the beginning everyone wanted the piece to be very movement orientated. I basically set out to choreograph a full-length show as opposed to pieces of a musical so the show really dances. I had a huge workload ahead of me and it was nice to be surrounded by my friends and everyone on the Bring It On team so when I faced challenges I was in the company of people who were protective and supportive of me. It was actually a great environment for me to learn the essential lessons.

How did you take off the director‘s hat and put on the choreographer‘s hat and vice-versa?

I quickly learned how to compartmentalize. And most of my time, frankly, I was wearing the director hat because the director has to speak to so many people: the set designer, the costume designer, the writer, the composer, and the producers. But I would give myself really specific times to say now I am going to choreograph. And literally I would turn my phone off and not answer e-mails because I was in the dance studio. And I think if I had not done that the show would have been compromised because there is so much dancing. I was really conflicted at times because when I wanted to be concentrating on dance steps because that’s my comfort zone, I had to keep dealing with directorial challenges. So it was definitely a learning experience for me, but it’s gone pretty well so far.

Photo: Joan Marcus

What was your formula for creating the dance sequences in Bring It On: The Musical?

I sort of have a reputation as a dancer and as a choreographer for being very personal and very research-based. Like with the show In the Heights, I didn’t know anything about salsa or hip-hop before I did it and Bring It On was the same thing. I have a huge respect for competitive cheerleading and I wanted the show to have an integrity about it that was true. So I decided from the very beginning that I was going to use cheerleading in sort of different ways. I was going to have totally legit cheerleading routines and then numbers where I used cheerleading vocabulary in the structure of routine, but then I was going to stylize it. Like for example, in the middle of a cheerleading routine maybe the whole stage goes into slow motion and one person is singing about what they are thinking.

I also spend a long time storyboarding ideas. So before I get into a room with the dancers or the cast I have already decided how I want to present each number through weeks and weeks of preparation. I always like to go into the room with 75 percent of the choreography complete and then with a brilliant cast and my assistants it all comes together. And I think that preparation lets everyone do their best work.

When casting Bring It On: The Musical what qualities where you looking for in your dancers?

From the beginning I didn’t want to fake cheerleading. And I realized I wasn’t going to be able to teach Broadway dancers to do what cheerleaders have been doing for 15 years. These kids grew up flying through the air and that’s not something you can teach someone during the rehearsal process. I made the decision early on to have two groups of people and integrate them together. I have a group of people who are more traditional singer/dancer/actors who have done musicals and then we have about 15 people in the show who have never done a musical, but are world-class tumblers and cheerleaders. This way, I let the cheerleaders take the lead on some material, I let the dancers take the lead on other material and at the same time everyone does everything.

What I tend to do is I give material in an audition setting that is very stylized and see if they can do it. And once I figure out they can do it or not then we test them on their ability to understand it intellectually. Like if the moment is about insecurity for example. I’m never going to talk to them about acting, but I push their buttons in a rehearsal type setting to see if they can adapt to my ideas. Some dancers are strictly athletics and they can only execute movement. They don’t dance with their hearts or brains much. Then there are other dancers who dance with their brains and their hearts completely, but they don’t have any technique. The audition process is about finding that dancer that has both.

In many articles I have read about you, you have been called the new face of Broadway in terms of your choreography? How do you respond to this statement?

I tend not to read things out there because what we do is so delicate emotionally and I tend to want things really badly. I feel as artists we have to invest so much heart in what we do and that’s what I think. If I am lucky enough to get opportunities and be surrounded by people who are great thinkers and can also help me get closer to my goals it’s a great ride. So, I am flattered when people have nice things to say about me. And I’m flattered to think that I’m helping people see things in a new way. In so many ways I feel like a total novice and I feel like I’m just starting to get good at what I do. I’m always struggling to figure out where the next lesson comes from because I’m hungry to keep learning.

According to the book “No Fixed Points: Dance in the Twentieth Century,“ in the 1930s a dancer was considered a sell out within the modern dance community if they took a job on Broadway. How has this perception changed?

I have never been in the concert dance world so I all I can say is there is definitely a difference between the commercial and non-commercial dance world. And sometimes company dancers, like City Ballet, they make a great living. They’re in the commercial world but they’re artistically at the top of their craft. And I think that Broadway is a commercial venue and being in a commercial show doesn’t mean the work is bad. There are musicals out there that have changed people’s lives. The movement might be simplistic, the music might be academic, but for some reason emotionally it changes people’s lives. And I think as long as people do good work then they should be respected.

What advice do you have for dancers contemplating a career in Broadway?

The hard part about being a Broadway dancer is there isn’t just one thing you have to do, you have to do everything. One day you’re auditioning for a hip-hop show like Bring It On and the next day you’re auditioning for a Sting musical. So, the technique has to be really good, but it also has to be really versatile so you can pick up styles quickly. And you know nine times out of ten you have to sing well.

This was originally posted on TheaterJones.com.

Photo: Debra Klawetter/Epiphany DanceArts

Epiphany DanceArts shows the many sides of love in “Dawn” – A Love Story.

Classy, cohesive and cry-worthy all describe Epiphany DanceArts Valentine’s production “Dawn” – A Love Story at the Granville Arts Center in Garland.

On Friday, company members glided on stage with slicked-back up-dos and tasteful costumes, maintaining the elegance throughout the show with contemporary and liturgical dance stylings and soulful music (a selection of songs by Etta James, Mumford & Sons and Natalie Grant to name a few.)

Vocalists Stephanie Jenkins and Stephanie Kenney acted as the evening’s narrators and also added their own sophisticated sound to a couple of recorded songs including the late Etta James’ “Sunday Kind of Love” and “At Last.”

Since the company’s winter show in December, the dancers seem more in sync with one another. In this show, which repeats tonight, their arm gestures, turns, arabesques and even breath cues were together. Maybe it had something to do with the larger venue, but the dancers’ choreography and performance level have also been elevated.

Photo: Debra Klawetter/Epiphany DanceArts

For example, in the first number “Lighting the Way,” a dozen dancers wove freely in and out of each other attaching their jeté combinations with confidence. The company’s trademark heavenly musicality and moments of stillness shone through in rhythmically and visually appealing choreography and graceful partnering.

And there were plenty of tear-jerker moments in the show, including “Make A Way” and “Stormy Weather,” both trios, and both about overcoming heartache. The movement was often slow and deliberate but at times fast and aggressive. Yet it was the expression on the dancers’ faces—pain and desperation—that really hit home.

The end of the show, however, brought cause for happy tears when the company performed a joyful piece to “At Last,” a song that perfectly summed up the dancers’ journey toward finding unconditional love.

This review was originally posted on TheaterJones.com.

Padraic Moyles in Riverdance. Photo: Padraicmoyles.com

Riverdance Bids Farewell to Dallas

Dallas — Since its first performance in the United States in 1996, Riverdance has been wowing viewers with its fast footwork, original sound and Irish charm. What started as a seven-minute dance segment on the 1994 Eurovision Song contest has become an international phenomenon and Ireland’s poster child.

Produced by Moya Doherty, directed by John McColgan and with music by Bill Whelan, Riverdance takes viewers inside some of Ireland’s timeless traditions through song and dance.

Now, as its 15-year U.S. run comes to end, TheaterJones asked lead dancer Padraic Moyles to tell us what it’s like being a part of this sensational cast, the lore behind the Irish technique and what he thinks the show has done for Irish dancing, especially here in the U.S. The show makes its final North Texas appearance Feb. 7 and 8 at the Music Hall at Fair Park.

TheaterJones: What makes Irish dancing different from other styles of dance such as tap?

Padraic Moyles: Irish dancing is actually quite similar to tap dancing. The similarity between the two is the rhythms. Tap dancers do the exact same rhythms as us, so they could copy our set of rhythms perfectly and we could copy their rhythms perfectly. It’s just how we do it is completely different. We’re a lot more strict and disciplined in our artform and American tap dancing is a lot looser. We do have tap dancers in the show and when they’re teaching us moves and we’re teaching them moves it feels really foreign. We’re still dancing and making rhythm with our feet, it’s just a different technique.

What is the significance of holding your arms at your side when you‘re dancing?

There are numerous stories as to why that happened. One is that the Catholic Church is very strict in Ireland and it was a sign of needing space for the Holy Spirit. You stay straight and upright and you didn’t touch your partner because it was a sign of respect. The next two stories are the ones I like the most. For a long time Britain had a stronghold on Ireland and during this time social parties were in a sense banned. Well the Irish people are well known for their social parties so they would gather in someone’s house and dance from the waist down so when British soldiers walked by and looked in the window they would only see their still upper bodies. The other one is that the houses were so small that they would take the doors down and dance on the doors to create the rhythm. Well, there wasn’t enough space on the door for everybody so they had to keep their hands by their sides and their backs straight to fit more people on the door.

Padraic Moyles. Photo: Padraicmoyles.com

Riverdance contains both soft-shoe and hard-shoe dancing. Could you explain the difference between the two?

Everybody starts in soft shoe and progresses to hard shoe. The soft shoe you’re talking about is probably in terms of the girls’ soft shoe and it’s a much more balletic style of Irish dancing. And the girls that are doing it today are extremely athletic in what they do. The main difference is in the soft-shoe dancing is the girls are very much on their tippy toes and are very, very light on their feet. They try to portray a very regal stance in terms of what they are doing with their feet and the movement they are creating on the stage. And then with the hard-shoe dancing, it kind of speaks for itself in the sense that it’s all about the rhythm and technique. But technique is very important in both soft-shoe and hard-shoe dancing.

What impact has Riverdance had on the dance culture in America?

The Americans have come a long way when it comes to Irish dancing. They are really becoming a powerhouse. So, it is amazing how Riverdance has probably had a massive influence on promoting the culture here in America. I grew up in Dublin and moved to New York where I have spent most of my life and I was competing in Irish dance in New York 15-20 years ago and most of the time the Americans didn’t do that well. And now, there’s an American world champion!

I think when Riverdance came out it made Irish dancing popular and sexy and athletic and all those terrific things so that a lot of those parents with Irish ancestry decided they wanted their children to learn it. I think Riverdance made a massive push for Irish dancing in the U.S. because if you talk to any Irish dancing instructors that have been around before Riverdance and are still here now they would say their numbers jumped massively since Riverdance came out.

What was the auditioning process like for Riverdance?

My mom won’t be happy with me telling you this but I cut school and went up to Boston to audition for the show. A couple weeks later I got a letter in the mail from Riverdance which my mom promptly opened and we found out I had made the show. I had to tell her what I did but she loves Irish dancing so much anyway and it was her dream as much as I mine to be in this show so it kind of made up for cutting school. They did sit me down and tell me I wasn’t leaving till after I finished high school. I finished out my year and went and joined the troupe. I was 18 years old.

Padraic Moyles and the troupe. Photo: Padraicmoyles.com

What is it like working with such a large cast of dancers? 

Mainly we all get along because we understand where each other comes from. There is no room for egos. And Riverdance does a great job of helping everyone understand that because the only way a show like this works is if the team works strongly together. We all have the same common goal, which is putting out the best product every night.

We also have this environment where we are able to help each other and correct each other in a way that’s constructive. So I am able to go up to people when we come off stage and say “hey guys what was up with our line out there we were a little off. Someone wasn’t moving fast enough.” And right away you will hear someone say “I think that was me. Sorry. I won’t let it happen again.” So it’s an encouraging environment as well. But there’s also that healthy competitive attitude within the show as people try to achieve their own personal goals in terms of trying to get ahead. This is terrific as long as those personal goals never interfere with the team goal.

 How do you keep your performance fresh night after night?

Back in 2008 I was getting to a point where I was kind of in a routine and I didn’t want to be in the same routine anymore. So I started to search for somebody who could really help me and I found him in Ireland. His name is Edmund McNulty and he works for a company called Motivate. We have been working together for the last two years and he continues to help me challenge myself. The exercises I was doing no other Irish dancer was doing at the time and now I see loads of people in the troupe doing them. It’s just about continuing to push the game forward and continue to get better and not become lackadaisical in what you are doing.

Now, just because you are doing something all the time it doesn’t mean you are not doing it right. For me, I was going through a routine and I was getting bored with my routine. And then I started to doubt my routine and questioned whether I was doing the right thing or the wrong thing. Edmund really helped me overcome this.

 To what would you attribute the show‘s longevity?

Simple sophistication. It is classy and it has never lost its integrity. And I really think Riverdance does stand by this. We’re all taught coming in whether it’s by somebody who has been there a long time or by a member of the production team to never look at Riverdance as just another Irish dance show. It is a full-scale Broadway production. And I think this message is passed down to every new person that comes in whether it’s their first Broadway show or their first time in Riverdance. It’s important that every single person that performs on that stage understands what they’re a part of because in terms of Ireland Riverdance is not just a show. It’s a cultural ambassador and with that comes a responsibility. And it’s important that we perform Riverdance every single night like it’s our last night or our first night.

This piece was originally published at TheaterJones.com.

2 year olds at Studio B preparing for their 2011 holiday show. Photo courtesy of Studio B

Creative tips for teaching tots to dance.

Many studio owners in North Texas would agree the majority of their business comes from teaching ages 2-5. But teaching tots can be challenging, especially for teachers who are used to teaching older, more advanced students. These teachers are going to encounter unfamiliar situations, including assisted bathroom breaks, meltdowns and constant horse play. If you don’t know the correct way to handle these youngsters, you are not going to enjoy teaching them. Luckily, some veteran preschool dance teachers have offered to share their tricks and tips for successfully teaching a room full of tots.

FUN AND GAMES. “One of the biggest challenges when teaching preschool students is changing our thinking, because at this young age it is not developmentally possible to think of ballet in terms of technique,” says Cindi Lawrence Hanson, owner of Gotta Dance in Plano, TX. “The dance that younger children enjoy is the movement to music,” Hanson says. “They want to learn how to do that, but it has to be presented within their capabilities, within their comfort levels,” she adds.

This is where games, props and make believe come into play. Laura McPheeters Glenn, who has been teaching preschoolers for Toby’s School of Dance in Richardson, TX for 35 years, says her students love Miss Puffy, the circle dance, broken dolly for Christmas and follow the leader. When it comes to teaching technique Glenn says, “The best way to get them in first position is to cover their spot with their feet and peek-a-boo, turn out toes to see their spot. We also do port de braswith arms (flying bird wings, angel wings and fairy wings) and jumps we call popcorn,” Glenn adds.

Using props is a great way to keep students engaged. Pictured: students at Janie Christy’s School of Dance. Photo courtesy of Katie Dravenstott

Hanson also uses props in her preschool classes. “It can be very helpful to dance with a chiffon scarf or a ribbon stick to make movements bigger or softer,” Hanson says. “Numbers on the floor help direct the children where to start and finish their steps. And a soft doll or stuffed animal can be fun to turn with or partner,” Hanson adds.

TEACHER TRAINING. Patience, love of children and experience are key qualities studios owners look for in their preschool teachers. “Most people would say patience, which is important, but more importantly the teachers need to love their students and really want to be their teacher,” says Bessie Waddill, owner of Studio B in Dallas. “This creates a more positive environment and strengthens your connection with them,” Waddill adds. “You also need experience with this age group because no matter how good a dancer you are, teaching little ones is a gift,” Glenn says.

To train new or less experienced teachers, Hanson recommends creating a class format everyone should follow. “It’s important to have a formula of success as well as a track to follow,” Hanson says. “There has to be room for fresh ideas, but this structure helps the children to know what to expect at dance time.” Waddill agrees that a structured class can aid in the students’ development and in their learning process. “The little ones need consistency and discipline,” Waddill says. “It not only teaches them how to memorize but it teaches them about classroom structure and environment,” Waddill adds. It’s also recommended that teachers watch other preschool classes and in some instances take a preschool class. “I have my preschool teachers take my class and I teach them the same as I would my little dancers,” Waddill says. “This way they can see and hear how I teach and from a student’s perspective.”

Teachers also need to be prepared for the behavioral challenges that come with teaching tots. “Not every 3 year old has good listening skills and not all have a spirit of compliance,” Hanson says. “It’s important for students to keep their hands to themselves and not to chatter,” Hanson adds. She recommends using phrases like “eyes on the teacher” or “catch a bubble in your mouth” to grab their attention.

“My best advice is to go into each class for preschoolers with a determination that it will be fun for them,” Hanson says. “If you can light a fire of interest, this could be the beginning of many years of dance for them.” Waddill adds, “The best advice for the little dancers is to LOVE THEM!”

This piece was originally published in the Feb.-April 2012 issue of DANCE! North Texas.

ABT performing Merce Cunningham's "Duets." Photo: Gene Schiavone

ABT shows its diversity with pieces containing classical ballet and modern vocabulary.

I know it’s hard to believe but there was a time (the early 1900s’) when ballet dancers and modern dancers wanted nothing to do with each other. Ballerinas did not consider modern to be a real artform and modern dancers thought ballet was too constricting. They never spoke in public and didn’t go to each others’ performances.

Flash forward to the 21st century and particularly to the American Ballet Theatre’s performance at the Winspear Opera House in Dallas on Friday, Jan. 21, 2012, where these classically trained dancers performed pieces by modernists Merce Cunningham and Paul Taylor.

As more contemporary ballet companies pop up across the county traditional ballet companies like ABT have to find ways to adapt. Friday night’s performance of Cunningham’s “Duets” and Paul Taylor’s “Company B” was a smart move.

“Duets” was a sweet  homecoming for me. I trained in Cunningham technique in college and seeing those bright-colored unitards and linear movements brought back some nice memories. And John Cage’s hypnotic music (Irish drums) was the cherry on top. The boy-girl couples (12 in all), dressed in blue, green, purple and red unitards and leotards, shifted seamlessly between fast and slow movement and in and out of unusual shapes (a Cunningham trademark.)

Cunningham technique requires incredible strength and balance. Slowing going up in and down in releve on one foot is not an easy feat. Nor is holding a side tilt on releve as your partner grabs your elbow, wrist, hand, lets go and then repeats the phrase as you continue to balance.

ABT in Paul Taylor's "Company B." Photo: Gene Schiavone

Paul Taylor’s “Company B” was also pleasing to watch. “Company B” showed the two sides of Americans during WWII. The one side is dancing the “Jitterbug” and “Jive” to songs by The Andrews Sisters while the other side is slow dancing to love songs also by The Andrews Sisters as shadows of the men at war appear in the background. Male dancers slowly marched across the stage and then acted like they had been shot.

Even though I enjoyed ABT’s “Company B” performance, I prefer the Paul Taylor Dance Company’s version. The Paul Taylor dancers’ movements were heavier and the women were more muscular and could go head-to-head with their male partners, dance wise. The ABT females looked too fragile next to their male counterparts.

But that is just my opinion. I was pleased to see such a variety in their repertory and I hope they continue to close that gap between the ballet and modern worlds.

Teresa Espinosa. Photo Courtesy DCNT.

Hip-Hop choreographer, dancer and teacher Teresa Espinosa confirmed as a guest artist for Dance Planet 16.

Dancers and dance enthusiasts can expect a lot of exciting performances and guest artists at this year’s Dance Planet Festival, including Dallas native and Emmy-nominated Teresa Espinosa. You may remember her from her work with the dance crew “Beat Freaks” on Season 3 of America’s Best Dance Crew.

She has also choreographed and danced with Britney Spears; Pink; Rihanna; Mariah Carey; Hannah Montana & Miley Cyrus Best of Both Worlds Concert in 3D and Selena Gomez. In her spare time Espinosa teaches at the legendary Debbie Reynolds Studio in Los Angeles.

Teresa Espinosa. Photo Courtesy of Broadway Dance Center.

Among the many things Espinosa plans to teach and share with the community is the idea that if young people want to have a dance career they need to courageously believe in their talent, expose themselves to dance of all kinds and seize every performance opportunity, according to a Dance Council of North Texas press release.

Dance Planet 16 will be held March 31-April 1, 2012 @ Booker T. Washington High School for the Performing and Visual Arts.

Registration is now open! Click HERE.

Lil' C & SYTYCD season 6 winner Russell Ferguson.

SYTYCD Comes to Dallas.

 “Buck is when internal artistry meets physical expression,” Lil’ C said to Twitch and Comfort during Season 4 of SYTYCD.

The “buck” master himself was on hand at the So You Think You Can Dance Season 9 Dallas auditions at Southern Methodist University’s McFarlin Auditorium, Saturday, Jan. 14, 2012.

Known for his eloquent and soul-searching critiques, Lil’ C didn’t hold back on the Dallas contestants, which for the first part of the day consisted mostly of Hip Hoppers. Correction: Poppers, Tutters, Krumpers and B-Boys, for Hip Hop is not a style, but a way of living, according to SYTYCD Executive Producer Nigel Lythgoe.

Aaron Blanelock, 19, from Dallas, TX, performed a style of Hip Hop called Popping which involves tensing and relaxing one part of the body at a time (i.e. fingers, wrist, elbow, shoulder and then reverse the movement.) Mary Murphy called him “absolutely likable” and a “good mover” but Lil’ C thought his moves were limited. “Dancing is a form of communication and that was a simple conversation,” Lil’ C said.

Lil' C on the judging panel. Photo: kirkhamilton.com.

Emilio González, 19, also from Dallas, TX, gave a demonstration on Tutting (creating patterns and angles mainly with your arms) and Bone Breaking (rhythmic contortion-like movement.) While Lil’ C said the shapes were all there the movement needed to be “crispy” and “nutty.”

The first part of the day ended with Krumper Tristen Everett, 23, from Oklahoma City, OK. Krumping is a high energy, hard-hitting style that is typically used as a way to release anger and aggression. Everett’s performance involved a lot of stomping, chest popping and arm swinging.

During our one-on-one time with the judges we asked Lil’ C if it is difficult to come out of the internal dancing world and try to communicate to 90 million people. “I think there’s a trick to it because everyone can say you’re too engaged in yourself and you have to connect with us, but sometimes that’s impossible because you want to be fully focused on your art. So instead of connecting with them you have to bring them into your world and make them pay attention to what you’re doing,” Lil’ C said.

WOW! This man seriously needs to write a book on Hip Hop and its evolution!

Can’t wait for the new season to start this summer!!!!!

Check out more here!

Plano Metropolitan Ballet in Cinderella. Photo: Dave Seitz

The Plano Metropolitan Ballet entertains with its cheeky rendition of Cinderella.

While I thought I knew the story of Cinderella and her wicked stepsisters, I had never seen mischievous mice moving props, a cat invited to the ball or costumes quite as crafty as the ones I saw in the Plano Metropolitan Ballet’s performance Saturday night at the Courtyard Theater in Plano.

Performers danced to recorded music by Tchaikovsky, Camille Saint-Saens, Sergei Prokofiev, Charles Gounod and Mozart. The choreography was a blend of classical ballet (i.e. pirouettes, bourrees, arabesque holds, jetes) and more modern moves that involved swinging the hips and loosening the spine. The production was choreographed by PMB Artistic Director Cindi Lawrence Hanson, Natalie Anton, Cloe Coleman and Katie Puder.

Cinderella (Amelia Leidy) and the Prince (Ruben Gerding). Photo: Dave Seitz

The most memorable pieces from the first act were “The Prince Should Choose a Bride,” “You’re Not Invited” and “I’m Your Fairy Godmother.” The Prince (Ruben Gerding) was well-suited for his role, oozing confidence and charisma the moment he stepped on stage.  In “You’re Not Invited” the Stepmother (Cera Taylor), Stepsisters (Katie Egger and Stephanie Lee) and the Cat (Kristina Banh) started to really warm up to their roles. Compared to their earlier appearances, in this piece their technique was crisper, pointe work steadier and facial expressions bigger. And while at times Cinderella’s (Amelia Leidy) movements appeared laborious, her musicality and smile never faltered.

The Fairy Godmother (Elizabeth Kumamoto) was everything a little girl could hope for. Decked out in a shimmery white tutu, tiara and wand, Kumamoto practically floated across the stage. Her natural pose and graceful lines only added to her aura.

Stepmother, Stepsister and the Cat. Photo: Dave Seitz

The second half contained larger group pieces including “The Royal Ball,” “If The Shoe Fits” and “Their Celebration.” The formation changes, jump sequences and entrances and exits were seamless, engaging and pleasing to the eye. There was also some nice acting by Egger, Lee and Banh in the scene where they discover the glass slipper belongs to Cinderella. It’s hard to make falling down and crying hysterically look pretty, but they pulled it off. And once Leidy transformed into a princess you could see a shift in her dancing. Her movement became lighter and she held her spine straighter, embodying the triumph and confidence of her character.

PMB accomplished the essence of the fairy tale with the costumes, sets and characters. The narrative advanced seamlessly, portraying all key scenes of the story in a fun but artistic way.

This review was originally posted on TheaterJones.com.