Today was our first day back to rehearsal with Mordine and Company after about a month off. Whew! One month off feels like 6. Trying to replace 8 hours of rehearsal per week with other forms of movement is not easy. I always come back just a little winded, but pick up speed by the second week.
Side note: Over the break, I got to see Delfos Danza at The Dance Center. Some of the pieces were arrestingly beautiful and they all had astonishing lights. Go Mexico!
Back to NEXT...
So our next show is called NEXT and is at Hamlin Park on May 16-17th, 2013. Then I move to Washington D.C. like, the next day. It's going to drive me a little crazy, but I did it in Miami, I can do it in Chicago.
NEXT is all about up and coming choreographers in Chicago being mentored by our own Artistic Director, Shirley Mordine. So, the show will be a dance film by company member, Monica Thomas, a group work by Shirley, and 2 trios by the "mentees". I can tell you that so far, one is about organic food and the other is about health care. Very timely.
So, we're now shuffling around our schedules (outside of our regular rehearsal times: Mon/Wed/Fri 10am to about 2pm) and seeing who is available when to rehearse where with what mentee and then, away we go! Thank goodness it's all paid rehearsal because extra rehearsal time means less regular day-job-y work. Or in my case, a turned-down teaching gig here or a turned down extra shift at The Dance Center there.
Which brings me to another side note: When possible, gravitate towards companies that pay hourly for rehearsal rather than a big chunk of money for a performance. Rehearsal is like sleep. It takes up a BIG chunk of your working hours and you need to get paid for that. Some (not all, but many) choreographers who just pay for the show waste lots and lots of rehearsal time. They're also the ones who usually get free/cheap space. If you do work for a choreographer that prefers to pay on a show day, make sure they have a rehearsal schedule set up before-hand (get that shit in writing) and then divide the final pay by the hours you are scheduled to rehearse. If you're not making minimum wage, you either better be just starting out and building your resume, truly enamored of the choreography, or doing the choreographer a favor so that they'll dance in your piece for free too.
The end.
Oh, wait. I'm also totally coming back to Chicago for Mordine's big show with Mucca Pazza at The Dance Center in October, 2013. Just click on the link and TRY to tell me that's not rad. So, if you're from the area, I'll be around September in the teens through the show and I'm available to teach masterclasses. Hit me up.
Monday, April 8, 2013
Saturday, March 23, 2013
Know Your Local Mid-Level Dance Companies
Know them and love them.
I move around a lot. It's something I'm trying to change, but in this economy... you've got to be flexible or you might have to change careers. That being said, the FIRST thing I do when moving into a new dance scene is familiarize myself with the local mid-level dance companies.
What is a local mid-level dance company? Otherwise known as a regional, salon, boutique, or a limited-contract dance company, these local companies can range in talent and budget from newly-formed and relying on regular Kick-starter campaigns to a 40-year-old company that has a budget of at least $250,000 a year and makes one national or international tour a year.
Chicago is one of the best cities to find an ample supply of mid-level companies for dancers at any point in their career. I find my perfect fit (for dancing or viewing) by dividing them into 3 categories:
1) For the young dancer just out of college.
2) For the dancers that don't want to leave the city, don't fit neatly into a large company here, and are forced to make or collaborate to make their own 'awesome'.
3) For the dancer that was tired of their demanding nationally/internationally-known touring company and transitioned into the role of choreographer so they could be their own boss.
These are surprisingly easy to figure out. Just skim the artistic director and dancer bios: Where'd the director from? How'd they get their start? What's their mission? How old are their dancers? How'd their dancers end up in the city? Then find your ideal company and start taking classes with them or see their next show.
For those of you interested in Chicago dance, these are the local companies I've seen in the last week: I just caught Striding Lion Performance Group at Links Hall last weekend when they shared a show with Enid Smith Dance (former Cunningham dancer), this weekend I peeked into the Chicago Moving Company's 40th Anniversary Show at The Dance Center and regrettably missed THAW: A Night of Hot Ballyhoo, Link's big-ole' party and fundraiser. But you take a look at their programs and you'll not only find dancers, but each of these events are populated with dancers who have their own scintillating side projects worth checking into.
If I weren't heading to Milwaukee to rehearse for my own side-project MKE FOLLIES taking place next Saturday, March 30th at Carte Blanche in Milwaukee, WI, I'd definitely go see the inimitable Canadian Compagnie Marie Chouinard at the Museum of Contemporary Art Chicago.
I move around a lot. It's something I'm trying to change, but in this economy... you've got to be flexible or you might have to change careers. That being said, the FIRST thing I do when moving into a new dance scene is familiarize myself with the local mid-level dance companies.
What is a local mid-level dance company? Otherwise known as a regional, salon, boutique, or a limited-contract dance company, these local companies can range in talent and budget from newly-formed and relying on regular Kick-starter campaigns to a 40-year-old company that has a budget of at least $250,000 a year and makes one national or international tour a year.
Chicago is one of the best cities to find an ample supply of mid-level companies for dancers at any point in their career. I find my perfect fit (for dancing or viewing) by dividing them into 3 categories:
1) For the young dancer just out of college.
2) For the dancers that don't want to leave the city, don't fit neatly into a large company here, and are forced to make or collaborate to make their own 'awesome'.
3) For the dancer that was tired of their demanding nationally/internationally-known touring company and transitioned into the role of choreographer so they could be their own boss.
These are surprisingly easy to figure out. Just skim the artistic director and dancer bios: Where'd the director from? How'd they get their start? What's their mission? How old are their dancers? How'd their dancers end up in the city? Then find your ideal company and start taking classes with them or see their next show.
For those of you interested in Chicago dance, these are the local companies I've seen in the last week: I just caught Striding Lion Performance Group at Links Hall last weekend when they shared a show with Enid Smith Dance (former Cunningham dancer), this weekend I peeked into the Chicago Moving Company's 40th Anniversary Show at The Dance Center and regrettably missed THAW: A Night of Hot Ballyhoo, Link's big-ole' party and fundraiser. But you take a look at their programs and you'll not only find dancers, but each of these events are populated with dancers who have their own scintillating side projects worth checking into.
If I weren't heading to Milwaukee to rehearse for my own side-project MKE FOLLIES taking place next Saturday, March 30th at Carte Blanche in Milwaukee, WI, I'd definitely go see the inimitable Canadian Compagnie Marie Chouinard at the Museum of Contemporary Art Chicago.
Thursday, March 14, 2013
Petronio at The Dance Center, Chicago
Okay, It's a little late... the show was last Saturday, but life happened. Well, preparing to torture my students with Midterms happened, anyway.
So Petronio's Underland is the new top bar for my husband. I've been dragging him to shows since 2006 and this is his favorite so far, although he did take issue with the music choice.
Nick Cave was the soundtrack for our journey through Underland and although I liked the music throughout the piece, my husband thought he just had too previous knowledge about Nick Cave to free himself of the spectre of it.
The thing that struck me hardest about Underland was how much the self masochistic perfectionism we imagine happens in rehearsal shows through in this particular performance. It's magical. You can imagine Petronio is the off-stage Hades, god of the Underworld, making his minions do his bidding whether they want to or not. This compulsion to fall in line, the decision that is not ours to make, the idea that we are slaves to the dark world around us is illustrated in each song, each scene, each tightly regimented and belligerent phrase of movement.
I came out of the spell for "Stagger Lee". That one didn't work for me (just too obvious). But the rest... captivating.
So Petronio's Underland is the new top bar for my husband. I've been dragging him to shows since 2006 and this is his favorite so far, although he did take issue with the music choice.
Nick Cave was the soundtrack for our journey through Underland and although I liked the music throughout the piece, my husband thought he just had too previous knowledge about Nick Cave to free himself of the spectre of it.
The thing that struck me hardest about Underland was how much the self masochistic perfectionism we imagine happens in rehearsal shows through in this particular performance. It's magical. You can imagine Petronio is the off-stage Hades, god of the Underworld, making his minions do his bidding whether they want to or not. This compulsion to fall in line, the decision that is not ours to make, the idea that we are slaves to the dark world around us is illustrated in each song, each scene, each tightly regimented and belligerent phrase of movement.
I came out of the spell for "Stagger Lee". That one didn't work for me (just too obvious). But the rest... captivating.
Thursday, March 7, 2013
Petronio
I have 2 tickets to the Petronio's Underland for tomorrow. Now, as we all know, I don't do pointed feet, but every once and a while I make an exception for a well crafted show.
I happen to work at The Dance Center (big season and place for dance in Chi-town) and get my tickets for free in exchange for being the bright and smiling face full of snarky remarks every Tues-Thurs evening. So I got a little preview since I'm putting in my hours this evening.
Let me tell you, there were screams and yells at curtain. I guess Chicago approves. See ya tomorrow, dancers. I'll be in heels, so you know I think you're worth it.
I happen to work at The Dance Center (big season and place for dance in Chi-town) and get my tickets for free in exchange for being the bright and smiling face full of snarky remarks every Tues-Thurs evening. So I got a little preview since I'm putting in my hours this evening.
Let me tell you, there were screams and yells at curtain. I guess Chicago approves. See ya tomorrow, dancers. I'll be in heels, so you know I think you're worth it.
Tuesday, March 5, 2013
The Show Is Finished, But The Biggest Show Is Yet To Come...
So the show I performed in this weekend with Mordine and Company is over. Thank you, thank you, I worked very hard, went on a cleanse (no booze, no candy - it's very complicated), and bitched to my husband 2 or 3 times about how stressed out I was. All signs of a typical show weekend. And I think it went well. Actually, I'm quite pleased with myself. I didn't fall on my ass once. Now there's a hallmark of a successful run.
I did slip and slide a few times, but thankfully I'm like a freaking cat. Not everyone knows this, but it's actually quite miraculous that modern dancers make it through a whole weekend of shows without stepping on someone, getting kicked in the head, falling down, or falling off of something. I mean, have you seen us? We're like, throwing ourselves all over the place at about 10 miles an hour.
Anyhoo, my fellow dancers danced so well, and we were told that we really looked cohesive and evenly matched (which is difficult in a regional dance company where turn-over can sometimes be high). Clinard Dance Theater and Deeply Rooted Productions were lovely too and we all enjoyed sneaking out of the dressing room to see them.
This Friday, I'm having a discussion with Shirley (our Artistic Director) about what's up next for me. Here's the big news... I'm moving (AGAIN!?) to Washington D.C. with my husband for his job. It's a good enough job where he's just got to take it. It's the equivalent of me getting into Bill T. Jones. I'd drop whatever I was doing and would leave so quick, your head would spin.
Washington D.C. will be my next big thing (or slightly smaller thing because the dance scene ain't so large) starting in late May. I'm super creative, smart, and fun to be around, so tell your D.C. friends I'm a-comin' and to roll out the marley floor. We'll tear it up once I get there.
I did slip and slide a few times, but thankfully I'm like a freaking cat. Not everyone knows this, but it's actually quite miraculous that modern dancers make it through a whole weekend of shows without stepping on someone, getting kicked in the head, falling down, or falling off of something. I mean, have you seen us? We're like, throwing ourselves all over the place at about 10 miles an hour.
Anyhoo, my fellow dancers danced so well, and we were told that we really looked cohesive and evenly matched (which is difficult in a regional dance company where turn-over can sometimes be high). Clinard Dance Theater and Deeply Rooted Productions were lovely too and we all enjoyed sneaking out of the dressing room to see them.
This Friday, I'm having a discussion with Shirley (our Artistic Director) about what's up next for me. Here's the big news... I'm moving (AGAIN!?) to Washington D.C. with my husband for his job. It's a good enough job where he's just got to take it. It's the equivalent of me getting into Bill T. Jones. I'd drop whatever I was doing and would leave so quick, your head would spin.
Washington D.C. will be my next big thing (or slightly smaller thing because the dance scene ain't so large) starting in late May. I'm super creative, smart, and fun to be around, so tell your D.C. friends I'm a-comin' and to roll out the marley floor. We'll tear it up once I get there.
Wednesday, February 27, 2013
All At Once
So this weekend I'm seeing myself onstage. I'm sure I'll give you a glowing review after the weekend.
I'll be performing with Mordine and Company at Stage 773 Feb. 28-March 3. You can even get $5 off tickets for Thursday and Sunday HERE. We've got guest artists, an oldie and a newie that I took part in creating. Those of you who know my moves will see my signature style in there. :-)
I'm all a twitter about it because it'll be my first big performance in Chicago and I collect performances in different cities like Girl Scout badges. It's a little like collecting states you've driven through, or countries you've vacationed in, but with career benefits. You get bragging rights, but you also get a little more clout in the dance world because if you've danced in one more city, it means that someone wanted you to dance there. It's a little ego stroke for you and a little reputation builder for your resume.
Now, I'm not touring with Petronio or anything 'cause that's not in the cards for me... but I do the best with what I've got and dammit, I'm proud of it.
I'll be performing with Mordine and Company at Stage 773 Feb. 28-March 3. You can even get $5 off tickets for Thursday and Sunday HERE. We've got guest artists, an oldie and a newie that I took part in creating. Those of you who know my moves will see my signature style in there. :-)
I'm all a twitter about it because it'll be my first big performance in Chicago and I collect performances in different cities like Girl Scout badges. It's a little like collecting states you've driven through, or countries you've vacationed in, but with career benefits. You get bragging rights, but you also get a little more clout in the dance world because if you've danced in one more city, it means that someone wanted you to dance there. It's a little ego stroke for you and a little reputation builder for your resume.
Now, I'm not touring with Petronio or anything 'cause that's not in the cards for me... but I do the best with what I've got and dammit, I'm proud of it.
Saturday, February 16, 2013
Zoe/Juniper
Last night I saw Zoe/Juniper at The Dance Center of Columbia College. 65 minutes of dark, strange and intriguing visuals. My husband didn't care for it, but he's no dancer, so I pulled rank on him and told him although he's normally free to have his own opinion, he'll have to agree with me on this one.
Were there lulls in the action? Yes. Especially during the quiet moments when we could all hear percussion practice going on in the Sherwood Music School next door. Someone should really make sure that on performance nights, no one practices the drums after 8pm. Seriously.
There were also some Greek-chorus/baroque court dancing sections that went on a bit long with unending repetition. This is where I would have cut at least 2 minutes off the end of each "chorus" section.
Some other comments I got from fellow patrons were that the scenes seemed disjointed and the piece was not cohesive. I didn't mind the separate "scenes". It felt like wandering through a gallery and looking at the individual pieces in a visual art show. My only beef was that I wanted more of the fantastic video that appeared in the first third of the show. Ghostly mirrored video images haunted each of the dancers as they appeared and disappeared from the stage. The human-sized images danced as much as the real dancers and I wanted more. I rarely feel such a connection from video in dance.
The vocabulary of the piece was low, feral, and glitchy. You felt like you were watching a grainy video feed that intermittently skipped frames. It was technically very difficult and quite unique. Yes, legs went up to the ceiling and toes pointed (you should know that these things are loath to me), but all for the sake of attaining the praying-mantis/scorpion/gollum feel of the movement. The dancers all embodied this so well, and then Zoe entered the scene and blew them all away. Insect-dancing is clearly her specialty. Entirely made of long limbs that are evidently able to rotate at least 270 degrees (yes, I had to look up the rotation of an owl's neck to get an accurate figure), Zoe is able to go anywhere and stop momentum to change direction at breakneck speed.
Did I mention the shiny floor that made each dancer look like they were avatars because of the light that seemingly shone up on them from the floor? It's hard to describe, but it looked like a very specific follow-spot on each dancer... coming from underneath the floor. Cool. Cool, cool, cool. Besides that, it made their footsteps sound completely different from any regular dance floor.
To wrap it all up, despite some quibbles on the editing, a desire for more of Juniper, and the drummers next door, I thoroughly enjoyed the collaboration of Zoe/Juniper.
I'd see them again. For sure.
Were there lulls in the action? Yes. Especially during the quiet moments when we could all hear percussion practice going on in the Sherwood Music School next door. Someone should really make sure that on performance nights, no one practices the drums after 8pm. Seriously.
There were also some Greek-chorus/baroque court dancing sections that went on a bit long with unending repetition. This is where I would have cut at least 2 minutes off the end of each "chorus" section.
Some other comments I got from fellow patrons were that the scenes seemed disjointed and the piece was not cohesive. I didn't mind the separate "scenes". It felt like wandering through a gallery and looking at the individual pieces in a visual art show. My only beef was that I wanted more of the fantastic video that appeared in the first third of the show. Ghostly mirrored video images haunted each of the dancers as they appeared and disappeared from the stage. The human-sized images danced as much as the real dancers and I wanted more. I rarely feel such a connection from video in dance.
The vocabulary of the piece was low, feral, and glitchy. You felt like you were watching a grainy video feed that intermittently skipped frames. It was technically very difficult and quite unique. Yes, legs went up to the ceiling and toes pointed (you should know that these things are loath to me), but all for the sake of attaining the praying-mantis/scorpion/gollum feel of the movement. The dancers all embodied this so well, and then Zoe entered the scene and blew them all away. Insect-dancing is clearly her specialty. Entirely made of long limbs that are evidently able to rotate at least 270 degrees (yes, I had to look up the rotation of an owl's neck to get an accurate figure), Zoe is able to go anywhere and stop momentum to change direction at breakneck speed.
Did I mention the shiny floor that made each dancer look like they were avatars because of the light that seemingly shone up on them from the floor? It's hard to describe, but it looked like a very specific follow-spot on each dancer... coming from underneath the floor. Cool. Cool, cool, cool. Besides that, it made their footsteps sound completely different from any regular dance floor.
To wrap it all up, despite some quibbles on the editing, a desire for more of Juniper, and the drummers next door, I thoroughly enjoyed the collaboration of Zoe/Juniper.
I'd see them again. For sure.
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