Giving students, teachers, and parents an edge in dance education
Ever wondered what goes on behind-the-scenes of The Nutcracker in one of America’s largest ballet companies? From 7000 lbs of hand-torn snow to tangled flying cooks, take a peek, as we talk with Production Director, Tom Boyd and Wardrobe Manager, Laura Lynch.
Allison Miller, chosen as one of Dance Magazine’s 25 to Watch in 2011, talks about the importance of a positive outlook, her early training and studies at North Carolina School of the Arts, and about making the awkward leap from student to professional.
Houston Ballet apprentice, Madison Morris answers questions about what it’s like to perform in the corps during this busy holiday season. She reveals both the hard work and dedication required of apprentices and the corps and an insider’s view of the sometimes action-packed events going on behind the scenes at Nutcracker performances.
![[Photo] New Houston Ballet Soloist, Melissa Hough in rehearsal](http://danceadvantage.net/wp-content/uploads/2010/09/MelissaHough-266x400.jpg "Melissa Hough")
“When I became more serious about which direction I wanted to focus on, I auditioned for the year round program at Kirov Academy. I lived at the school for four years, while still taking my jazz, tap, lyrical classes and participating in competitions, and working on summer correspondence courses so I could graduate early. I also took some voice lessons, because for a long time I wanted to be on Broadway, but during my time at Kirov I decided I wanted to go for it- try to be a ballerina. My (Russian) teachers never thought I’d go very far in a ballet company. They felt I was more suited for contemporary, which at the time I was.”
“Your body does change,” confirms Sara, “and my fear was that I wouldn’t be able to look or dance the way I did before pregnancy and birth.” It was a fear that Toni shared. When asked what concerns she had about pregnancy, Toni answers, “That my body would never be the same. Its true, my body has never been the same. So what.” However, Toni concedes, “Like most dancers, I am hard on my body image, and that got worse after having a baby.”
At the Prix de Lausanne, he performed a classical variation from August Bournonville’s La Sylphide and a contemporary solo, Caliban, from Cathy Marston’s The Tempest. In addition to winning PDL’s top prize, Amuchasetgui also brought home the “Audience Favorite” award. In the wake of his win, Amachastegui was kind enough to answer a few questions about his experience at the prestigious competition, his training, and his life outside of dance.
In 2004, Houston Dance Critic Molly Glentzer in her review of the book for Dance Magazine stated, “Li’s tenacity is an inspiring lesson to any reader, dancer or not. It’s the stuff of which great movies are made. Expect this one soon, and bring Kleenex. But read the book first.” A handful of years later, Li’s story is now a motion picture. It has already done well in Australia but unfortunately distribution in the U.S. is still speculative.
Performing at such a young age in a huge theater with professional dancers helped to start my love of performing, as well as making me more comfortable on stage early on in my training. Also, it was after participating in those two summer programs in Houston that I realized I wanted to pursue dance professionally.
I do a bit of writing and reviewing in Houston and it has been my pleasure to have the opportunity to interview some of the area’s finest dance talent. I don’t always cross-post my stuff here but when I get to talk with someone about their training and experiences, I like to share that with [...]
“I knew what I was doing with my life, unlike the boys who called me names. The teasing made me work harder to prove them wrong and to be successful. When I went to Europe at age 13, I realized that they were so wrong because I was having so much fun dancing.”
