Last week, I went to see ‘Rock the Ballet’, choreographed by Adrienne Canterna and featuring the Bad Boys of Dance.
As soon as ‘Rock the Ballet’ starts, the theatre is filled with contagious fun and energy. The first scene showcases the six Bad Boys of Dance, before dancing beauty Adrienne comes onto the stage, seducing them all. Continue reading →
I was lucky to be able to speak to the Ballet’s two ballet masters, Vietnamese Minh Pham and French Emmanuelle Broncin. These interviews were intriguingly different, as you will see.
First I spoke to Minh: “What is your role exactly as ballet master?” He explained to me that he runs the classes, the rehearsals, and assembles ballets as the choreographer’s assistant. And how does he motivate the dancers? “It’s complicated! There isn’t a method, you just have to sense how they are feeling every day: whether they need pushing more, or if they’re tired and they need to go more slowly.” Continue reading →
After the show, I had the chance to interview Nathan Makolandra, who has been dancing with the L.A. Dance Project since it began in 2012.
I asked him how he got into the company. “I was a senior at Juilliard, and Benjamin [Millepied] had done some work with seniors the previous year”, he told me. “He was going to be starting this [LADP] company, so he called the director and said he’d like to come and look at the current batch of seniors. After auditions at Juilliard, he asked me to join what would be the L.A. Dance Project. It’s been over four years now, and it’s been cazy!” Continue reading →
Earlier this week, I went to see Benjamin Millepied’s L.A. Dance Project perform four pieces from their repertoire (Reflections by Benjamin Millepied; Duets by Martha Graham; Helix by Justin Peck; and Hearts and Arrows by Benjamin Millepied).
They were all incredibly different, each had, I thought, its own particular meaning. Continue reading →
Last week, I was lucky enough to spend four days doing work experience at the Théâtre du Capitole in Toulouse, one of France’s major theatres, with its own in-house opera and ballet companies.
The ballet company is made up of 35 dancers of 12 different nationalities, and performs at least 4 ballets a year of which 2 are new creations.
I learned a lot about all the aspects of the theatre, from the administrative work to opera rehearsals, wig making, and much more… It was really interesting and amazing, and I am now completely certain that it is in the arts that I want to work. I felt very at home.
But my favourite part of course was attending the class and rehearsal of the Ballet du Capitole. Continue reading →
Some members of the LINES company very kindly agreed to chat with me after the perfomance, for which I’m very grateful; they were all so lovely!
What’s it like working for LINES ballet?
LINES was actually my dream company, and I got asked to join them in my junior year in college. I really think that Alonzo [King]’s philosophies on dance, movement and arts intertwine perfectly with nature and humanity. He has a way of stripping away all that materialistic crap that dance can get self-absorbed in. It’s a lot of hard work physically and spiritually, but it’s really rewarding. It’s a moment where I’m really grateful to be alive and be dancing. Continue reading →
Right from the opening, it was obvious why the company is called LINES ballet: the simplicity of the lighting, decor, and costumes meant you could completely focus on the stunning lines created by the dancers’ incredibly fluid bodies. It was almost like watching a series of still photographs, swept up into a swirl of movement. Continue reading →
After seeing the show ‘Atomos’, I was lucky enough to have the chance to meet dancers Catarina Carvalho, Jessica Wright, and Travis Clausen-Knight.
I first asked Travis how working with Wayne McGregor is different from working with other choreographers. Travis described working with Wayne as a very fast and intense process, and said Wayne’s work is very collaborative.Continue reading →