Tag Archives: Dallas Summer Musicals

The Year in Dance

Here are my favorite new dance works of 2018!

Face What’s Facing You by Claude Alexander III for Dallas Black Dance Theatre. Photo: Anne Marie Bloodgood

This year saw the creative juices flowing from well-known local dance artists, including Joshua L. Peugh, Katie Cooper and Kimi Nikaidoh as well as guest artists who brought styles that had yet to be seen in Dallas such as Yin Yue’s FoCo contemporary dance style and Gabrielle Lamb’s bird-like quality and theatricality. We also saw the resurgence of authentic jazz technique from Southern Methodist University (SMU) Artist-in-Residence Brandi Coleman and the expansion of Bombshell Dance Project’s technical fortitude in a new piece by visiting choreographer Amanda Krische.

A few of the works on my list this year also featured live accompaniment, including Cooper’s The Little Match Girl Passion, Nikaidoh’s The Face of Water and Peugh’s evening-length work Aladdin,حبيبي. We also saw more musical collaborations with local talent such as Cooper’s Avant Chamber Ballet with Verdigris Ensemble and Peugh with SMU alum Brandon Carson who worked on both Aladdin and Lamb’s Can’t Sleep But Lightly.

Relatability also played a big part in my decision making for this list, and while every piece made me feel something, the one that spoke to me the loudest was Claude Alexander III’s Face what’s facing you! He managed to address a number of issues affecting individuals with humility and an uninhibited movement quality.

As far as what I’m looking forward to in the coming year I am excited to see what Bridget L. Moore is cooking up with her new company, B Moore Dance, as well as Dark Circles Contemporary Dance’s winter showcase, Avant Chamber Ballet’s Romance and Ragtime and Bruce Wood Dance’s gala fundraiser entitled Dances from the Heart. I am also looking forward to seeing Dein Perry’s Tap Dogs at the Winspear Opera House in March.

And my wonderful husband got me tickets for both Anastasia and Hamilton at Dallas Summer Musical in Fair Park. I am already counting down the days!!!!!

My dance writing goals for 2019 include talking and visiting with even more local dance companies and choreographers as well as attending some shows outside the dance realm, including plays, musicals and opera. Can’t wait to get started.

Until then, here are my favorite new works made in 2018:

 

The Little Match Girl Passion by Katie Cooper

Avant Chamber Ballet and Verdigris Ensemble

December

Moody Performance Hall, Dallas

Always one willing to break the mold when it comes to classical ballet, Katie Cooper paired her company, Avant Chamber Ballet, with the vocalists of choral outfit Verdigris Ensemble for a very sobering and elegantly danced performance of David Lang’s A Little Match Girl Passion at Moody Performance just a few weeks ago. Cooper took a very different approach for the choreography in this performance. Instead of bouts of group allegro and adagio movements Cooper had the corps act as scenery and story imagery, which only added to the balletic lines and character portrayal of lead dancer Juliann McAloon. ACB took a risk with such a somber show, but while the show brought to the surface the feelings of loss and sadness, it also presented airs of beauty and spiritual awakening.

 

Aladdin,حبيبي by Joshua L. Peugh

Dark Circles Contemporary Dance

October

AT&T Performing Arts Center, Wyly Theatre, Sixth Floor Studio Theatre, Dallas

Peugh stretched his artistic boundaries with his first evening-length work, Aladdin, Habib, which Dark Circles Contemporary Dance performed back in October as part of the AT&T Performing Arts Center’s Elevator Project. Known for giving very few details about his pieces to his dancers, Peugh admitted Aladdin was a completely new experience for himself. He stepped outside his comfort zone with repurposed set design, strong character portrayals and live music. The movement was a blend of Peugh’s signature heavy-footed walking steps, twisty curvy floor work and subtle gesturing with more accented hips, body ripples and staccato movements typically associated with Middle Eastern dance cultures. The narrative is based on “The Story of Aladdin” as well as company member Chadi El-koury’s own personal story of coming to America with his family as a young boy, which he approached with calm determination and an emotional intensity we had yet to see from him.

 

Brandi Coleman’s And One More Thing… at SMU. Photo: Meadows Dance Ensemble

 

And One More Thing… by Brandi Coleman

Meadows Dance Ensemble

October

Southern Methodist University, Bob Hope Theatre, Dallas

One of the few jazz choreographers in the U.S. trained in Jump Rhythm Technique, Coleman wowed the audiences with her funky and loud jazz number, And One More Thing…, at Southern Methodist University’s Meadows School of the Arts Fall Dance Concert in October. Originally created in 2015, Coleman added on three new sections with a grand finale that featured a large group of females dressed in casual street clothes moving and grooving to “Tell Me Something Good” by Rufus and Chaka Khan. The piece played between the juxtaposition of stillness and hotness, which the dancers demonstrated through subtle gestures and sassy expressions as well as their sudden bursts energy and scat-singing, a fundamental element of Jump Rhythm Technique. It was fun and rambunctious and definitely a work worth seeing again.

 

LUNA by Amanda Krische

Bombshell Dance Project

June

Moody Performance Hall, Dallas

Repetitive phrases that travel every which way was the foundation for New York-based choreographer Amanda Krische’s LUNA, which was part of Bombshell Dance Project’s Like A Girl performance at Moody Performance Hall last June. Emily Bernet and Taylor Rodman tapped into their inner beasts in order to maintain their energy levels throughout the 10-minute work which started out with the two of them walking a specific number of steps before the monotonous phrase was broken up with gestures, pauses and abrupt floor work. The girls described the piece as a slow burn and they definitely had to dig deep as the intensity continued to build and the music switched from meditative to pulsating. It was a pleasant departure from the bombshells signature robust movement style.

 

Can’t Sleep But Lightly by Gabrielle Lamb

Dark Circles Contemporary Dance

March

WaterTower Theatre, Addison

New York-based choreographer Gabrielle Lamb challenged the dancers’ mathematical skills as well as their artistic sensibilities in her piece for Dark Circles Contemporary Dance’s showing at WaterTower Theatre’s Detour Festival back in March. Methodical walks, balletic lines and alien-esque body shapes are woven throughout this cleverly crafted piece. What I liked most about this piece is its lack of physical partnering; instead the dancers relied on simple human contact to produce authentic connections with one another. It was a very trippy ride indeed and a complementary pairing of artistic minds.

 

The Face of Water by Kimi Nikaidoh. Photo: Sharen Bradford/The Dancing Image

 

The Face of Water by Kimi Nikaidoh

Avant Chamber Ballet

April

Moody Performance Hall, Dallas

Nikaidoh used a range of emotions and the highs and lows within Argentine composer Osvaldo Gojilov’s 2002 chamber piece Tenebrae to drive the movement in her new work for Avant Chamber Ballet’s 2018 Women’s Choreography Project last April. Nikaidoh described the piece as more of an emotional journey focused primarily on hope and new beginnings, which was depicted in the longer, sweeter notes in the music. The combination of classical movements such as pas de deuxs and standard corps body lines and formations with Nikaidoh’s penchant for subtle musical gesturing and unlikely body shapes was a delightful juxtaposition for these talented dancers. Add in the dancers’ emotional conviction and you had a winning work.

 

Begin Again by Yin Yue

Bruce Wood Dance

June

Moody Performance Hall, Dallas

Bruce Wood Dance did an admirable job of presenting New York-based choreographer Yin Yue’s FoCo contemporary techniques to audiences at its Harmony performance last June. The cyclical nature of the piece is an extension of Yue’s movement style that features liquid body rolls, continuous arm circles and wide, sweeping leg lifts and floor work. The piece showcased the bond of the group, a staple of many of Bruce Wood’s works, in which the dancers appeared as one living organism before breaking off into smaller pairs and individual movement sequences. A musical mover Yue’s choreography came across as one continuous line of thought that dips, daps, weaves and loop-de-loops around an individual’s personal space, which led to some unexpected and visually pleasing moments.

 

Face what’s facing you! by Claude Alexander III

Dallas Black Dance Theatre

May

AT&T Performing Arts Center, Wyly Theatre, Dallas

Dallas Black Dance Theatre tackled their own unresolved issues in Claude Alexander III’s Face what’s facing you!, part of the company’s Spring Celebration Series back in May. As a rising choreographer Alexander delivered a strong voice in this work, which centered around some unresolved issues in his life in order to start the healing process. The piece was cathartic and heart pounding at the same time as the dancers meshed smooth walks and sustained lines with explosive jumps and multiple turns. Alexander didn’t waste any time getting to the theme of the piece and the action-packed stripped-down choreography was a breath of fresh air.

 

This list was originally posted on TheaterJones.com.

 

Advertisements

Q&A: Maksim Chmerkovskiy, Dancing With The Stars

Maksim and Karina. Photo: Courtesy
Maksim Chmerkovskiy and Karina Smirnoff in Ballroom With A Twist. Photo: Courtesy

The professional Ballroom dancer on winning Season 18 of Dancing With The Stars and his upcoming performance in Ballroom With A Twist at the Music Hall at Fair Park.

Dallas — Widely known as the Bad Boy of the Ballroom, Maksim Chmerkovskiy waltzed his way into America’s heart during Season 2 of ABC’s Dancing With The Stars. Since then he has come close to winning the mirror ball trophy four times before finally accomplishing the fete this year (Season 18) with 2014 Sochi Olympic Gold Medalist Meryl Davis. But Chmerkovskiy’s love of dance started long before the formation of DWTS.

Born in 1980 in Odessa, Ukraine, Chmerkovskiy began dance classes at the age of 4. During his teenage years his family immigrated to the U.S. and Chmerkovskiy got serious about his dance career. He is the founder of Rising Stars Academy, a studio focused on the youth and their pursuit of Ballroom dance, and is also the co-founder of Dance With Me Dance Studios. He choreographed the Wynn Las Vegas water-based show Le Reveand has also performed in the Broadway show Burn the Floor. He joined the cast of DWTS in 2006.

Dallas audiences can see Chmerkovskiy in addition to dance celebrities Cheryl Burke, Karina Smirnoff and Tony Dovolani when Ballroom With a Twist comes to the Music Hall at Fair Park July 19 for two showings. Also performing is So You Think You Can Dance finalists Jenna Johnson (Season 11), Legacy (Season 6), Randi Lynn Strong (Season 5) and Johnathan Platero (Season 5) along with American Idol finalists Von Smith (Season 8) and Haley Scarnato (Season 6).

TheaterJones asks Maksim Chmerkovskiy about choreographing for television, winning the mirror ball trophy and what audiences can expect to see during Ballroom With A Twist.

TheaterJones: Besides receiving the mirror ball trophy, what does winning Season of DWTS mean to you?

Maksim Chmerkovskiy: It means everything to me! I have been with the show for about 8 years and every season has been a wonderful experience in different ways. This season with Meryl was a completely different experience from the rest. Meryl is such a hard-working and dedicated woman who pushed me to do my very best and I did not want to let her or my fans down.

How did you get involved with Ballroom With A Twist?

I agreed to a few shows to be able to meet the people who have supported and voted for Meryl and I throughout this past season of DWTS, as well as my fans that have been there for me throughout the years. It is a way for me to give back to my fans and let them know how much I appreciate them.

How would you describe the production? Is it DWTS on tour?

Ballroom With A Twist is filled with amazing performances, fun music and an outstanding cast that is perfect for the entire family.

What dance styles can audiences expect to see?

People can expect to see classic Ballroom along with Ballroom mixed with Contemporary and Hip-Hop like styles.

Do you have a favorite Ballroom or Latin dance?

Dancing is my passion and each and every dance I perform has something different to it, whether it’s emotional or physical. A lot depends on whom I am dancing with as well.

What sort of impact has DWTS had on Ballroom dance in the U.S.?

I think DWTS has allowed America to appreciate and fall in love with the act of dance beyond just Ballroom.

What advice do you have for young dancers who want to dance on television one day?

The best advice I can give is to follow your heart. Work hard and love what you do, that’s what is most important.

Outside of DWTS, what do you enjoy doing?

Outside of DWTS I spent a lot time working on my dance studios, Dance With Me, which now has five locations throughout New York/New York City, New Jersey and Connecticut. I also love giving back and helping others. I work with a charity called Childhelp which helps victims of child abuse and neglect. I also love spending time with my family. They’re everything to me!

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

 

Q&A: Randy Skinner, White Christmas The Musical

The Cast of White Christmas. Photo: Joan Marcus
The Cast of White Christmas. Photo: Joan Marcus

Choreographer Randy Skinner talks about turning the beloved movie White Christmas into a stage musical and how Broadway dance has changed over the last 30 years.

Dallas — Need a break from all that holiday shopping, cooking and decorating? Go see Irving Berlin’s White Christmas at the Music Hall at Fair Park Dec. 17-29, presented by Dallas Summer Musicals.

Based on the 1954 movie starring Bing Crosby, Danny Kaye, Rosemary Clooney and Vera-Ellen, White Christmas tell the story of two showbiz buddies who put on a show in a picturesque Vermont inn and happen to find their perfect mates along the way. White Christmas The Musical takes the versatile dance stylings of choreographer Randy Skinner and combines with Irving Berlin classics like “Happy Holiday,” “Sisters,” “Blue Skies” and the title song “White Christmas” for a memorable Holiday experience.

A native of Columbus, Ohio, Skinner graduated from the Ohio State University with a major in speech and communication and a minor in psychology before heading to New York City in 1976 in search of dance jobs. In 1980 Gower Champion asked him to be a dance assistant on 42nd Street. Skinner choreographed the Broadway revival of 42nd Street in 2001 and also choreographed and staged the production of the musical for companies in London, Germany, Australia, Amsterdam and two U.S. national companies. Along with White Christmas, Skinner also choreographed the musical State Fair. He has been nominated three times for Tony Awards and twice for Drama Desk Awards for Choreography.

TheaterJones asks Randy Skinner about the challenges associated with transferring a classic movie to the stage, his love of Golden Age musicals and the changes he has seen in the Broadway dance industry.

TheaterJones: What was the Broadway dance scene like when you first came to New York City? 

Randy Skinner: Well, to be a Broadway dancer you always needed a wide range of techniques because the shows can have so many different kinds of styles. Not every show does, but particularly the shows I do are really reminiscent of what we call the Golden Age of musicals which you will certainly see in White Christmas.

When I work on a show I really look for dancers that are trained in what we call theater dance, but also jazz dance and of course tap. And a lot of my shows have ballroom in them which involve a lot of partnering. So, it’s a wide range of styles that show dancers need, particularly if you want to be able to audition for many types of shows. Sometimes you will have a show come around like Wicked which is basically all jazz dancing.

What are some of the major changes you have seen in the industry throughout your career?

With Broadway shows today you also have to be able to sing. Years ago the cast lists would have a singing ensemble and a dancing ensemble, but those days are gone because of the economy. Now you are looking for a group of kids who not only dance really well, but also have to sing. So there’s a lot of requirements for a young dancer today.

Have you seen a resurgence in the number of dancers who want to perform on Broadway in the last few years?

Oh, sure! Particularly with all these musical theater degrees that are in the universities now. You know years ago that didn’t exist and you went to school and you either majored in dance, theater/acting or music. But now you have a degree that I think entices a lot of young people to pursue a career on Broadway.

So then what did you major in at The Ohio State University?

Choreographer Randy Skinner
Choreographer Randy Skinner

I was put in dance class at the age of 4 so I had a really strong dance technique by the time I got college. So, I choose to major in something totally different and outside the field. I went the education route and majored in speech and communication with a minor in psychology and I also have a teaching certificate. And I use my degree every day of my life in this business.

Why did you decide to go the college route first?

I always knew that I was going to go to New York, but yes the plan was always to go to college. And I still think it’s a really good idea to go to college, but I think you have to be really savvy in your choice of school. Because if you do pick the right school that gives you four more years of really great concentrated training; that experience is truly invaluable. You also get more hands on training in a college atmosphere than you would in a dance class in New York or Los Angeles.

How did you get involved with White Christmas The Musical

Well, I got the call one day from the director, who I had known, but had never worked together, and he wanted to meet with me and talk about the project and that’s basically how it is always done. You meet with people and talk it over and get a feel for one another. And that’s how it all happened 10 years ago. It’s hard to believe it has been that long.

Did you have any reservations going into the project since the movie has such a large following?

I have been through this before on several shows where you’re taking a really beloved movie and transferring it to stage, so I didn’t really have any nerves about it. I kind of knew what I had to do. Making a movie for the stage is definitely challenging because a movie musical doesn’t have nearly as many songs that a stage musical does. So, when you transfer something like that to the stage you really have to add a lot of music to the score to make it a full evening. And I knew we could do this really well.

But the biggest challenge is you have to really deliver the audience expectations. You have to come up with a way to make it for the stage where the audiences leaves at the end feeling like they had really seen the movie. Because I am used to doing really big, dance-driven shows I knew that we would be able to accomplish that.

I wasn’t quite aware of how popular the movie was because I was more in touch with the original movie Holiday Inn. That was the first movie the song “White Christmas” appeared in back in 1942. So, I thought it would be interesting to see if people know that movie like I do, but boy, everyone I talk to knows the 1954 movie so well.

For those who haven’t heard of him, who was the choreographer on the 1954 movie?

It was Robert Alton who was a big Hollywood choreographer and if you really know your movies then you would know him. But he was not a huge public name like Gower Champion, Michael Kidd or Bob Fosse. Alton did quite a few movies for MGM and he was a wonderful choreographer.

How did you blend some of the memorable dance scenes from the movie with your own movement?

Irving Berlin is one of my favorite composers so, that actually made the job somewhat easy because I was able to go with the director and pick the songs that we thought would be appropriate for the stage. We picked songs that were all before 1954. We didn’t want to include any songs Berlin wrote after the actual movie. So, I got to sit down and go ok what do I really want to dance too and that really gave me free range. And then you have to decide what kind of a dance is it going to be. Should it be a jazz or tap number? Should it have partnering or should it be a solo? That can guide you also and help make it a little bit different from the movie.

I always say the hardest thing is that each number you put in the show has to have its own kind of arc, a beginning, middle and end. But then the overall does show does too. So, it’s definitely a double challenge. Each number has to tell a complete story and then that has to fit into the bigger picture. In the end I really let the music dictate everything. As George Balanchine once said, ‘dancing is about the music’ and for me that is really true.

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

 

Weekend Wrap Up: 25th Dance Council Honors Celebration

Me at the start of the 25th Dance Council Honors Sept. 30, 2012 at the Dallas Black Dance Theatre in Dallas.

Wow! This weekend was full of Dance Council events, including Teresa Espinosa’s Hip Hop master classes at Power House of Dance in Dallas on Saturday and the 25th Dance Council Honors on Sunday.

Hit Them Beats. The rain didn’t stop eager dancers from showing up at Power House of Dance Saturday afternoon for Hip Hop choreographer Teresa Espinosa’s master classes. (FYI – this was my first visit to Power House and it blew my mind with its state-of-the-art lobby and eight studios.)

Teresa, a Dallas native, was on Season 3 of America’s Best Dance Crew with the Beat Freaks and has worked with some well-known artists, including Justin Bieber and Carly Rae Jepson. She is also this year’s recipient of the Natalie Skelton Award for Artistic Excellence, presented by the Dance Council of North Texas.

Teresa Espinosa teaching students how to walk to the beat during a master class at Power House of Dance in Dallas.

The students really took to her “commercial dance” style which involves a lot of accented walking, gestures and personality. She also likes to play around with level changes and speed. But what really stood out was her widespread knowledge and passion for her art form.

“Dance is about feeling; not thinking,” Teresa told the younger students when it came time to freestyle.

Shining Stars. Working in the arts community is truly a labor of love. So, when the community can come together and celebrate the accomplishments of certain outstanding individuals it’s truly a momentous occasion. And this year’s Dance Council Honors was the best yet!

Note: Mind you this was only my third year attending, but it was more organized and diverse in terms of the performance showcase than previous years.

The diverse showcase had a lot to do with the addition of a musical number by Guyer High School Theatre students at the beginning of the event. The group won Best Choreography at the 1st annual Dallas Summer Musicals High School Musical Theatre Awards, May 5, 2012, at the Music Hall at Fair Park.

Tracy Jordan (left) and friend tapping away at the 25th Dance Council Honors. Jordan is the 2012 recipient of the Mary Bywaters Award for Lifetime Contribution to Dance.

Other surprises included a short, smooth tap routine by Tracy Jordan after he accepted his award for lifetime contribution to dance. He then brought up the legendary Buster Cooper (to his surprise) to perform the Shim Sham. It was an emotional and exciting moment for all. I hope I am still dancing when I am his age.

We also saw some amazingly technical and conceptual solos from a few 2012 Dance Council scholarship recipients that completely blew my mind. Their knowledge and commitment to their art form was evident in their movement choices and performance quality.

Dallas Black Dance Theatre company members Amber J. Merrick and Richard A. Freeman, Jr. closed the show with an excerpt from Alvin Ailey’s Escapades. The bluesy music and loose movement are Ailey signatures and also a great way to end the event.

After the show my husband and I attended the reception where I ate at least a dozen of these little apple turnover bites. They were so good!

I also got to ask Honoree Teresa Espinosa where I could find good music for younger Hip Hop classes. Radio Disney it is!!!!

The 2012 Dance Council Honorees include:

Gladys Keeton – Larry White Dance Educator Award

Yvonne Lovell – Larry White Dance Educator Award

Teresa Espinosa – Natalie Skelton Award for Artistic Excellence

Kay Dalziel – Mary Warner Award for Service to Dance

Laura Price – Texas Tap Legend

Tracy Jordan – Mary Bywaters Award for Lifetime Contribution to Dance

Congrats to all you guys!!!!

 

Dancing Delight: 2012 Dance Council Honors

The 25th Dance Council Honors celebration is almost here!

WHEN: Sunday, September 30, at 2:30 p.m.

WHERE: Dallas Black Dance Theatre, 2700 Flora Street, Dallas, Texas 75201.

TICKETS: $35 adults, $25 DCNT members, and $20 students under the age of 16. Ticket includes reception. Prices rise on September 24: $40 adults; $30 DCNT members; $20 students under the age of 16. Proceeds benefit the Dance Council of North Texas and its Dance Scholarship Program.

HOW to PURCHASE TICKETS: By phone at 214-219-2290 or online at www.thedancecouncil.org

Along with acknowledging six outstanding individuals for their contributions to dance the 25th Dance Council Honors will also include performances by Dance Council scholarship recipients, Dallas Black Dance Theatre and Guyer High School.

This year marks the first time a local high school will be participating in the Dance Council Honors showcase. Guyer High School Theatre students will be performing a number from the Broadway blockbuster, Chicago.

Guest Choreographer Christopher Huggins and DBDT company members watch footage from Escapades. Photo: Robert Hart.

Dallas Black Dance Theatre will close the program with the earthy and lyrical pas de deux from famed choreographer Alvin Ailey’s Escapades.

The event will also feature a Silent Auction that benefits the Dance Council’s scholarship program. The auction items include dinner and theater packages, paintings, jewelry and other objects donated by area arts institutions and individuals. While bidding, guests can also enjoy a reception and beverages.

The 2012 Dance Council Honorees include:

Laura Price

Laura Price – Texas Tap Legend

Laura Price is a creative, rhythmical, challenging tap dancer and teacher. She has danced in such productions as Anything Goes, 42nd Street, Whoopee, Peter and the Wolf, A Chorus Line, The Nutcracker, and Morton Gould’s “Tap Dance Concerto.” Price’s career spans more than 30 years of performing and teaching.

Kay Dalziel – Mary Warner Award for Service to Dance

Kay Daiziel

In the retail dance wear business since 1984, Kay Dalziel (dee-el) opened Artful Dancewear LLC in north Dallas in 2003. She is well-known and respected throughout north Dallas as dancer friendly business. Dalziel has assisted the DCNT in many projects one of which is to underwrite the DCNT/Artful Dancewear Dance Educator Professional Development scholarship.

Teresa Espinosa

Teresa Espinosa – Natalie Skelton Award for Artistic Excellence

Teresa Espinosa is an alumna of Booker T. Washington HSPVA and California Institute for the Arts (Valencia) before developing into an acclaimed hip-hop choreographer, dancer and teacher. A member of the dance crew “Beat Freaks,” she appeared on Season 3 of America’s Best Dance Crew. Most recently Espinosa worked as an assistant choreographer for the film Magic Mike (2012) and choreographer for Carly Rae Jepson’s appearance at the Billboard Awards show.

Tracy Jordan – Mary McLarry Bywaters Award for Lifetime Contribution to Dance

Tracy Jordan

DCNT is thrilled to award its highest honor to Tracy Jordan, executive director of the Dallas Summer Musicals High School Musical Theatre Awards. Jordan has appeared in a number of Las Vegas shows including the Folies Bergere. He was featured in Broadway productions such as 42nd Street, Sugar Babies, Jesus Christ Super Star and Fiddler On The Roof.

Gladys Keeton

Gladys Keeton and Yvonne Lovell – Larry White Dance Educator Award

Gladys Keeton is associate professor of dance at Texas Woman’s University. She is the coordinator of the undergraduate program and Master of Arts in Teaching Dance Internship, director of the Community Dance Center and founder of the TWU International Dance Company. Keeton also presents professional development workshops on creative dance, world dance styles and arts integration across Texas.

Yvonne Lovell

Another inspiring dance educator is Yvonne Lovell. Lovell is the owner and director of Stage Door in Mesquite, TX which opened in 1980. Lovell, born and raised in London, began performing on stage at the age of six and won the All England gold medal for tap dancing by the age of nine. Lovell is certified with the prestigious British Association of Teachers of Dancing as well as Dance Educators of America.

This is an event you don’t want to miss!