Tuesday, March 20, 2012

Audition Mission

You've been training hard in all of your classes at BDC and now you're ready to start auditioning! But where do you begin?

Here we'll help familiarize you with a few of the main casting call websites so you can get out there and audition!

  • $14.95/month (or you can purchase a weekly newspaper publication of Backstage)
  • auditions~musical theater, straight theater, cruise lines, theme parks, music video, commercials, TV/film, etc., search by field or location
  • online access to job listings, unlimited online submissions, individual profile (headshot, resume, reel, etc.), database of directors/agents/etc.
  • $8.33/month
  • auditions~music video, musical theater, cruise lines, theme parks, special events
  • online access to job listings (performer, choreographer, and teacher gigs worldwide) and agent auditions, individual profile, insider info (how-to create a resume, reel, etc.)

  • FREE!
  • auditions~musical theater, straight theater, cruise lines, etc.
  • job postings (performers, arts administrators, interns, directors, teachers, etc.)
  • $25/month (basic membership)
  • auditions~principal and extra roles
  • online access to job listings, individual profile, individual profile, database of photographers and demo reel creators, directories (agencies, casting directors, managers), online job submission
  • Free registration (but $2 per online submission)
  • auditions~straight theater, short films, feature films, music videos, "webisodes," industrials, commercials
  • online access to job listings, individual profile, online submissions for jobs ($2 per submission)
  • FREE!
  • job postings (auditions, internships, choreography opportunities, volunteering)
  • auditions~concert dance/company auditions
  • *specific to jobs and opportunities in New York City
What is your favorite "audition" website?
Backstage
Answers 4 Dancers
Playbill
Casting Networks
Actors Access
Dance NYC
Other
Results

Other helpful sites:

Monday, March 12, 2012

Sonya Tayeh comes to BDC

The studio's been abuzz all week in anticipation of contemporary classes with Sonya Tayeh, who is best known for her inventive, combative jazz/contemporary choreography on "So You Think You Can Dance." Tayeh has described her unique style as "combat jazz," because "[i]t’s staccato, aggressive, and engaged, even when it’s slow. I’m always ready for battle."


All of Tayeh's classes sold out hours before their scheduled time, and with crowds of wait-listed students watching at the windows, it was clear that the BDC community had been captivated by the quirky choreographer. 





"From the moment Sonya entered the classroom, she commanded each and every single student's 100% undivided attention and pushed us all to be better dancers than ever before. The energy and inspiration in the room was nothing I have ever experienced before. Her choreography, her warm up, her "words" - everything was out of this world! Everyone you talk to will tell you that a single dance class with Sonya will change your life. She's a genius." - Daniel Montera


"It was one of the most inspiring classes I've taken in a long time. She's one of the strongest women I've met and she will push you to your 'limit,' only to find that you have no limit and are capable of anything." - Megan O'Leary


We hope to have Ms. Tayeh back to teach many more classes here at BDC!


Check out Sonya's choreography reel:

Friday, March 9, 2012

And All That Jazz: "Chicago" Master Class with David Kent

Our Professional Semester students were incredibly lucky to take a private master class from David Kent, the dance captain for "Chicago," the longest running American musical on Broadway.  The Pro-Sems learned the famous, timeless Fosse choreography to the opening number, "All That Jazz."



What dance training did you have as a kid?
None! I started in college. I was an athlete; I had Olympic aspirations and wasn’t even going to go to college. I lived in the Olympic training center for ski racing for 4 years. The Olympics didn’t happen for me, but no regrets! I went to college at the University of New Hampshire and started to dance. I was terrible – but I got hooked. I made it my minor and learned, fast – hours and hours each day. My initial background was in modern and ballet. Somehow I got sucked into musical theater and never left. 


Did you study voice and acting too?
Yes. Both... But my strength is dancing.


When did you move to New York City?
I am from Cazenovia, New York but didn’t move to New York City until I finished Graduate school at Boston University. Broadway auditions were always priority, but I went to anything and everything. 


When was your “Chicago” audition?
I went to a couple. There were just a bazillion people there in the beginning, and I kind of just got lost in the shuffle. But then I had two submissions from my agency and got to the end of both auditions but never heard back. So I to went to one more required call and again got all the way through ... but apparently at the time, there was no job to be had! When a position opened up, they called me but I had to turn it down because I was performing in “Romeo and Juliet: the rock musical.” Later on the position opened up with the first national tour and I was available to take it. After the movie came out I did the third national tour that I dance-captained for. Then I moved into the Broadway company and I started as dance captain after my first year there.


How did you become dance captain?
The previous dance captains in New York wanted to move on to other shows and projects. Its a very time consuming job and doesn't really avail much freedom... So I took over for them.


What are your responsibilities as dance captain?
I’m 80% psychologist, 10% telling people where to stand and 10% teaching choreography. That’s probably an exaggeration... Maybe more like 33% of each is more like it.... There are  a lot of egos to balance. You need patience. You need to get a job done while being considerate and respectful to your cast mates. I have the responsibility to teach everybody – I teach the stars, I teach the ensemble, I teach and maintain the choreography and staging. I also handle the dance aspect of the audition process. My bosses are basically Annie Reinking, Gary Christ (dance supervisor), and Walter Bobbie (director).


Why do you think “Chicago” has been so successful as the “Longest Running American Musical?”
It is so well written (it was trimmed down from the 1976 version). It’s down to its basic minimum, its just good story telling. It's staged to be a feast for the eyes and ears too. You cannot help but laugh at some of the scenes while at the same time feeling the effect of a sensual drive that can leave you squirming in your seat. "Oh ya, and we're not really wearing anything!”
 

Do you think there was resurgence after the movie came out?
Definitely! It brought in a whole new audience. Before the movie, the audience was made up of an older, regular theater crowd. All of a sudden this young, excited group of teenagers/twenty-something’s started coming to the show. We also began casting current stars – Usher, Ashlee Simpson, Kara DioGuardi, Kevin Richardson.... people like that are a huge draw. 


What is your opinion of contemporary movie musicals?
In general, I would much prefer them to tape the live shows and air them on PBS. But Rob Marshall did an excellent job on the film [of “Chicago”]. It’s a huge feat. People keep trying, but have only had moderate success in comparison to what he accomplished.


What is it like to be part of “Chicago,” a show that has become such an American icon, especially in the dance world?
It's an honor. I’ve done over 4000 performances now. With that said, I don’t care how tired I am or how broken I am, the minute that Overture music starts the adrenaline kicks in and its a whole new game. I love performing that show. I’ve had opportunities to leave and do other projects but it’s never even a question.... No thanks, I'll stick with Chicago. Particularly with this show, if you don’t feel inspired, you should give someone else a chance. It’s too important of a piece to be lazy or uninterested. 


Why do you think “Chicago” was chosen as the theater master class for BDC’s Professional Semester?
“Chicago” has become an icon. I really want to pass on all the information that I can, at least in the context of the people who created and originally performed the work…Because with every generation it is going to get diluted or changed – everyone is going to have his or her own take on it. I think it's important to pass this choreography on in the way that it was intended. Particularly because numbers like “All That Jazz” can become over-simplified, pedestrian – and it’s not like that. Its actually hard, if you know the specifics, if you know the back-story, if you know the intent of the whole number and the number with in the context of the show. Even though you’re moving slow... There is resistance... Like moving through a thick soup... And your internal motor is still running full speed!

What is your teaching approach?
I am a really positive person and I believe in encouraging people. Particularly with this sort of material where there’s going to be improv involved, I think you have to learn to be able to look at yourself and not be judgmental.  I’ve noticed over time that it is better to encourage students than to yell, “You’re not doing this or that right!” I can get that way in the show, you know, after someone’s been doing a hundred performances and is still not doing something the choreographer has asked – a little bit more “tough love.” But my approach is basically: get them warm and then start right away with the material. I don’t do a long choreographed warm-up, because that would be more about me. I want to teach as much of the material as I can and be as specific as I can. I want to encourage students to find ways to look at themselves without being judgmental beyond the lines they are trying to create.


What advice do you have for dancers who want to audition for “Chicago?”
Good question – there is actually an audition coming up! Okay, for the women, you’ve got to dress sexy and edgy without being (forgive my language) “a whore.” You have to be intriguing. I like hair down. But we all have our own opinions behind the table. Also, you know you’re going to improv in this audition – LESS IS MORE! Do your three or four eights of improv in your apartment and take the best eight count out of whatever that was and make that last the whole time - you will stand out. Also learn to check your dynamics. You can move really quickly for four counts and then super slow for twelve. Know where you’re looking and what you’re looking at. Lack of focus is a big deal. I talked at a cocktail party with one of Bob’s former dance captains from “Sweet Charity” and she said, “Nobody teaches focus anymore.” Good reminder for me to mention it all the time. Men – be men.... Be fluid with out being light and soft... You can even make up the character – you are the guy that every other guy wants to be and every girl wants to be with – but you’re not trying, you are thoroughly comfortable with yourself.





Be sure to "rouge your knees and roll your stockings down" for the "Chicago" audition!


March 19th at Ripley Grier
10:00am Women
2:00pm Men











Here's what our Professional Semester students had to say about their master class with David Kent:


"I had not done a lot of broadway work and was feeling a bit insecure. After taking the Chicago Master Class I felt inspired and confident . The class gave me the insight that I could be any type of dancer/performer I choose to be . And dressing up was a blast!" - Lara Luzim


"Learning the "All that Jazz" choreography from David Kent was a dream come true! I can remember countless times when I would dance around my living room as a kid to "All That Jazz!" Being able to learn the original choreography with such a warm and positive person like David was very comforting. Before the master class I would of never had the confidence to go and audition for the show, but now I feel like I am Velma Kelly! The master class will forever be one of my favorite dance memories!" - Molly Day


"This was the best experience I have had so far while being in the city. David Kent was so inspiring and helpful, and he gave me the confidence to really let go. I had learned this choreography once before, when my high school did a production of Chicago, but this was so awesome to learn the little details and tricks to transform the dance into "more than just movements". I am so happy that I was given the opportunity to be a part of his class!" - Julia Udine


"Having the opportunity to have a master class with David Kent, and learn the choreography to "All that Jazz" was phenomenal, and by far one of my favorite experiences living in the city. I took a master class from him this summer at BDC, but this particular class was so helpful because we had more time to learn about the character, quality of movement, and  audition process. It has been a life-long dream of mine to be in Chicago on Broadway, so being able to meet David Kent, and learn actual choreography from the show left me a little star struck. Now I feel confident that I can go out and make that dream come true!" - Lara Scott


"I am not a musical theater dancer, but this class made me wish I was! I have always been a huge fan of Chicago so I was very excited when I found out we had the opportunity to work with David Kent. He definitely helped boost my confidence in the performance aspect of my dancing. I also really liked how we all dressed up for the class; I thought that was a lot of fun, and it really helped me get into character. This was definitely my favorite master class so far!" - Mollie Kuhn

Wednesday, March 7, 2012

The State of NYC Dance


Dance/NYC held the "State of NYC Dance" Symposium on Sunday, February 26th at Gibney Dance Center.  Our director of PR, April Cook, and our director of marketing, Emily Bass, were two of the nearly two hundred industry attendees.  Several BDC students also volunteered at the event by checking-in guests and speakers, monitoring the panel discussions, and directing attendees to the various breakout sessions.

The jam-packed day investigated the current state of dance in New York City and provided panel discussions and networking opportunities for artists, advocates, funders, policymakers, managers, scholars, and audiences.  One of the six beautiful studios at the Gibney Dance Center housed Dance/NYC's SmART Bars, 30-minute individual consultations with arts consultants regarding topics of business administration, technology, advertising, and fundraising.  The symposium also included movement classes with Andrea Miller, Sarah Donneley, Patrick Corbin, and Doug Elkins.


"Dance NYC's recent Symposium on the state of NYC dance was incredibly enlightening. It is so important for us to continue our efforts in the growth of our community and I am thankful to Dance NYC for providing the platform for related discussions and the building of relationships. Thank you to all who were involved!" - Emily Bass (BDC Marketing/Events Coordinator)

"I greatly appreciated Dance NYC's efforts and Gibney Dance Studio's hospitality in bringing the dance community together to discuss current topics in our field. The "Meet the Press" panel was one of the highlights of the day for me. It was wonderful to have the opportunity to hear from dance critics and their views on what their roles and responsibilities are to the choreographer, the dancer and the audience member." - April Cook (BDC Public Relations)

Visit Dance/NYC's website to learn more about this year's symposium and sign-up to volunteer or attend next year's incredible event!

Monday, March 5, 2012

Food for Thought

If dance is both an art and a sport, then our bodies are both our instruments and our machines. Therefore, it is vital to fuel our bodies with the proper nutrition and hydration so that we may continue dancing at our fullest potential. But how do we know what "balanced nutrition" means for a dancer? It can be frustrating to research a "diet" plan dancers because we exercise more than the "average Joe" yet do not want to bulk up with muscle. And the fact that the dance industry is often based on one's physical appearance only complicates matters. To appease my anxiety, I turned to Tiffany Mendell, a registered dietitian at Keri Glassman, Nutritious Life.



Tell us about your experience as a dancer and how you became interested in nutrition.
I started dancing seriously when I was 13 and was a member of a performing and competition company all throughout high school.  I went on to major in dance at the University of the Arts in Philadelphia, PA.  I was a modern major in school and danced with Philadanco II, a modern-based repertory company in Philly.  It was my experience in college that the dancers were the WORST eaters!  We were the ones dancing for 10 hours day and eating raw chocolate chip cookie dough in our dorm rooms at night!  That being said, in my first professional experience with Philadanco my artistic director did suggest that I lose about 10 pounds.  I knew NOTHING about nutrition.  My idea of eating to lose weight was a bowl of rice crispies for breakfast, a pretzel from the cart on Spruce Street for lunch and a bowl of Ramen noodles for dinner.  “Fat-free” was the nutrition trend back then, as there always are trends in the world of nutrition.  Of course, I wasn’t successful losing the weight because I wasn’t fueling my body properly, my metabolism was slow and I was starving, so then I would overeat!
I moved to NYC to pursue a career in dance, taking class at BDC when I could and auditioning for more jazz/musical theater type dance roles.  When I was in my mid-twenties my father (who was raised in the deep South where everything was fried with gravy on it!) was diagnosed with cardiovascular disease.  He was very fortunate that he didn’t have a heart attack, and he ended up having seven bypasses and two stents placed in his heart.  We met with a registered dietitian when he was in the hospital to educate him on eating “heart healthy.”  Heart disease has a very strong genetic component, and I remember saying to my brother at that time that we were going to have to start thinking about our diet then, when we were young, because what we ate in our youth was going to affect our health in our older years.  I subsequently started reading everything I could about proper nutrition and attempting to make healthier changes in my diet.  I made a concerted effort to incorporate fruits and vegetables with every meal and snack, cutting out saturated fat and processed foods and eating sources of lean protein and the right kind of fat.  Consequently, my body just CHANGED.  My dancing improved profoundly, my energy levels were amazing, my skin was clear and I felt satisfied with every meal.  I actually felt that I was eating MORE, and while I wasn’t trying to lose weight I just did.   I was excited about good nutrition!  Then I got my job dancing with the New Jersey Nets dance team, which was a fantastic experience!
I always knew I would pursue another career after dance, and because I was always drawn to the nutrition articles in all my health magazines that I read I decided to go back to grad school for nutrition.  I danced for myself, and I was ready to use my knowledge and passion for nutrition to help others lead healthier lives.

The dance industry has a reputation for being "unhealthy."  Why do you think that is?
Dancers are under pressure to achieve a certain aesthetic.  Sometimes this pressure is from external sources, sometimes it is pressure they impose on themselves.  They tend to be perfectionists, but perfectionistic thinking can sometimes backfire and lead to self-sabotage.  Furthermore, a dancer may go to extremes to achieve this ideal because this is the only way they know how; perhaps they’re getting their nutrition information from unreliable sources on the internet, or they are getting misinformation and pressure from their peers. 
For a healthy approach, I think it’s important for dancers to think of themselves as athletes as well as artists.  They need to fuel their bodies as athletes do, and depending on the sport athletes have different nutritional requirements.  Obviously a gymnast is going to eat differently than a linebacker.  But all athletes need to eat right for optimal performance, and dancers are no different.  Additionally, a dancer’s body is his or her instrument.  A violinist with the New York Philharmonic doesn’t just shove his violin in his duffle bag with his gym clothes after rehearsal.  He takes care to wipe it with a soft cloth, place it in its proper case, care for the strings, and tune it to ensure that his instrument sounds the way it’s supposed to.  Dancers need to focus on taking care of their bodies outside of the studio as much as they do in the studio.  This includes eating healthy, staying hydrated, and getting adequate sleep. 

What exactly is "balanced nutrition" for a dancer?
Balanced nutrition for anyone really just means eating the right proportion of high fiber carbohydrates, lean protein and healthy fat.  It’s essential for dancers to understand that they need ALL of these components in their diet.  “Carbs” often have a negative connotation when it comes to weight management, but it’s important to know that carbohydrate provides energy for the body. Healthy carbs are those that our bodies use efficiently and are high in fiber, vitamins and minerals such as fruits, vegetables, beans and legumes, and whole grains.  You actually burn fat more efficiently with a little carbohydrate in the diet, and carbs help prevent protein being burned for energy. Lean protein is necessary for muscle growth and repair, which dancers need because vigorous activity breaks down muscle tissue.  Excellent sources are fish, poultry, and low-fat dairy as well as vegetarian sources such as beans and legumes, tofu, and edamame.  Fat is important in the diet because it helps our bodies absorb certain vitamins and provides satiety, meaning you feel satisfied after consuming it.  You’d likely be hungry an hour after eating an apple, but an apple spread with a little all-natural peanut butter will keep you satisfied longer!  Good sources of healthy fat include those from plants sources, such as nuts and nut butters, avocado, hummus, olive and canola oil.  A special type of fat called essential omega-3 fatty acids are especially important to fight inflammation in the body and are excellent for heart health. These fats are categorized as “essential” meaning the body can’t make them and they have to be consumed in the diet.  Excellent sources include fatty fish such as salmon and tuna, and plant sources include ground flaxseed, chia seed, walnuts and canola oil.  Dancers should strive to include healthy fat with each meal and snack, but it’s important to watch your portion size because fat is a concentrated source of calories and it’s easy to go overboard.
In a typical day dancers are not always able to get in 3 traditional meals plus 2-3 snacks with their crazy schedules.  Going from 2 back-to-back classes and then to an audition and then rehearsal can make it difficult to get in a solid lunch, and dancers don’t want to feel “heavy” or full from a big meal when they have to dance right afterwards.  However, it’s important to eat small, frequent, balanced meals or snacks throughout the day.  Eating frequently helps you have a constant stream of energy for the day, keeps your metabolism from slowing down and prevents you from becoming famished and overeating. And EVERY dancer needs to get in a good breakfast before starting the day! 


How much water should I be drinking each day?
For women the general guideline is 2.7 liters per day, for men it’s 3.7 liters per day, however, some of this comes from water in food.  It’s SO important for dancers to stay hydrated throughout the day…this includes starting the day with water!  Water helps your body absorb certain vitamins and minerals, aids in metabolism and helps to fill you up.  I always encourage my clients to carry a 1 liter BPA-free water bottle with them whenever they can; their goal is to drink two per day for women, three for guys.  Green or herbal tea, seltzer/club soda and sparkling water are also great drink options and can certainly be counted towards your water intake for the day.  I try to discourage people from drinking their calories because they are not as satisfying as real food and may lead to overconsumption of calories.  This includes sodas, sweetened water, tea and coffee drinks, juice and smoothies and energy drinks.  I also recommend staying clear from artificially sweetened drinks as well; research shows that artificial sweetener use is actually associated with weight gain and can increase sugar cravings.

What are the best foods to eat:
-before class/rehearsal?
-before a performance?
It’s best to have a meal about 1 1/2-2 hours prior to dancing, whether it’s class, rehearsal or performance.  This will allow ample time for digestion and won’t cause you to feel too full or experience any gastrointestinal discomfort while dancing.  As mentioned previously, your meal will contain a proper ratio of carbs, protein and fat, but because fat takes a long time to digest it’s especially important not to have a meal that’s too high in fat.  An example of a good breakfast to start your day would be a ½ cup of plain oatmeal made with a cup of skim milk and a tablespoon of chopped walnuts, or lunch could be a turkey sandwich on whole wheat bread with lettuce, tomato and avocado with an orange on the side.  If you only have an hour or so before dancing, this is when it’s best to go for a smaller balanced snack, still containing some healthy carb and protein and/or fat.  An apple with a little all-natural peanut butter, a non-fat Greek yogurt with a tablespoon of chia seeds or some veggies and 2 tablespoons of  hummus would all be good options. 
If you feel the need to “de-bloat” on the day of a performance, try avoiding all carbonated beverages, artificial sweeteners, gum and hard candy as well as sodium (mostly from processed foods).  Also, sipping on chamomile, peppermint, or ginger tea and eating some asparagus, celery, fennel, papaya or pineapple may help with that bloating feeling.
-after dancing?
What you eat after dancing will depend on your day.  If it’s been several hours since your last meal and you have some time before dancing again, this is when getting a good meal will help to refuel your body.  However, if you only have a short time before you have to dance again you still need to get in a little protein and healthy carb.  A half-cup of low-fat cottage cheese with some sliced red peppers or 15 almonds with a handful of grapes would be good choices.
-when overcoming injury/illness?
This is the time when it’s especially important to avoid high fat, high sugar, processed foods (which hopefully you are avoiding at all times!).  These foods can contribute to inflammation in the body, and when recovering from an injury or illness it is necessary to eat foods that help to combat inflammation.  This means getting in those essential omega-3 fatty acids from fish as well as walnuts, flaxseed, and chia seeds.  And you want to make sure you’re getting in ample amounts of antioxidants from foods, particularly fruits and vegetables.  Berries, apples, artichokes, broccoli rabe, sweet potatoes, pecans, green tea and even dark chocolate are all excellent sources of antioxidants!   But these are foods that should be a regular part of your diet EVERY day, not just at times when you are recovering from illness!




 

Should I be taking vitamins and other supplements?
If you have a healthy, well-rounded diet there’s generally not a need to take a multivitamin/mineral or other supplements.  If you want to take a multi for insurance, it’s important to look for one that has no more than 100% of the Daily Value for each vitamin and mineral, and it can be taken every other day.  Of course, supplements are certainly warranted at times on an individual basis, but it depends on one’s diet and nutritional needs.  For example, it can be very difficult for vegans to get certain nutrients in their diet, such as vitamin B12, calcium, and zinc. Additionally, if someone doesn’t eat fish I would recommend taking a fish oil supplement to get the essential omega-3 fatty acids DHA and EPA, which help to fight inflammation in the body and contribute to heart health.  While you can get certain omega-3s from plant sources (such as flaxseeds or walnuts) these don’t provide the same type of omega-3s that fish provide.
 I ALWAYS recommend whole food over supplements.  You need to start with diet first.  Nutrients in food work synergistically, and individual supplements don’t always contain the proper ratio of vitamins, minerals and phytochemicals for optimal absorption that nature provides through food.  Further, supplements that are advertised for weight loss are NEVER recommended.  They can be extremely dangerous or, at best, simply a waste of money.  The only sustainable way to lose weight and keep it off is through proper diet, exercise and good sleep habits, period.

If weight loss is a goal, how can I take a healthy approach?
First: You have to eat!  Skipping meals and snacks is the worst thing you can do for your metabolism, causing it to slow down and making it difficult to lose the weight.  Second: Cut out processed foods.  Often when people focus on getting in whole foods such as fruits and vegetables instead of potato chips they tend to lose weight automatically.  Third: It’s imperative to measure portion sizes, because it’s SO easy to overestimate portions.  I encourage people to get measuring cups, measuring spoons and even a digital scale and USE them!  It’s very eye-opening to see what a half-cup of cooked oatmeal looks like.  If a dancer wants to lose weight I would suggest starting with cutting back on starch servings (1-2 per day) because starch is higher in calories than other foods that are higher in water.  This could mean a piece of whole wheat toast with breakfast and a small sweet potato at lunch.  Additionally, as mentioned before, it’s particularly important to monitor fat servings as well.  A lot of people are surprised when I mention that a healthy serving of peanut butter is 2 teaspoons instead of 2 tablespoons, as what’s listed on the manufacturer’s label.  Fourth: Keep a food journal.  Research has shown that people who write down everything they eat have more success taking the weight off and keeping it off.  It really raises your level of awareness as to what is going into your body.  If you can, seek guidance from a registered dietitian who can help you devise a food plan to safely take the weight off while ensuring your body is getting the nutrition it needs.

Are there books or websites that I can read to learn more?
I work in a private nutrition counseling practice for a wonderful registered dietitian named Keri Glassman, MS, RD, CDN.  She has written two books about nutrition that I would highly recommend called The Snack Factor Diet and The O2 Diet (and the upcoming Slim, Calm, Sexy). They’re great resources for someone wanting to learn more about nutrition, and would be excellent for dancers as well (and I’m not just saying this because I work for her!).  The information in the books is based on sound nutrition research and helps you to understand why we need carbs, protein and fat in our diet as well as goes into specifics on portion sizes and creating healthy menus.  I also really like Strong Women Eat Well by Miriam Nelson, PhD.  These books are about eating healthy for the rest of your life and make good nutrition accessible to anyone who reads them.
When searching for nutrition information on the internet it is very important to consider the source, because there is a lot of misinformation out there.  Reputable nutrition information will cite a body of scientific research (not just one article) and be based on the scientific literature, not just one person’s opinion.  Unfortunately, this information can be difficult for some people to discern.  Generally, if it promises a quick fix miracle or causes you to cut out huge food groups it likely isn’t quality nutrition information.

Who should I talk to if I'm feeling overwhelmed?
Whomever you trust.  This may be your parent, a good friend, a dance teacher, or a therapist.  It’s important to feel that you can turn to someone when you are overwhelmed, but be sure that this person has your best interest at heart.  


Thursday, March 1, 2012

Extra! Extra! Read All About It!


You're sitting in the holding room for three hours at an Equity call waiting to (hopefully) get the chance to audition. Here's a list of some great dance-related books to help you pass the time:

The Artist's Way (Julia Cameron) is a self-help book to help artists cultivate self-confidence and harness their creative talents. The chapters correlate to a 12-week course which provide resources and techniques that foster artistic inspiration.






All His Jazz: The Life and Death of Bob Fosse (Martin Gottfried) is a thorough biography of Tony, Emmy, and Oscar-winning choreographer, Bob Fosse. Gottfried artfully accounts Fosse's life experiences which later served to inspire his innovative style.










 
The Dancer's Way: The New York City Ballet Guide to Mind, Body and Nutrition (Linda H. Hamilton) describes the wellness program at NYCB that was created to support the physically healthy, emotionally balanced, and mentally prepared dancer in achieving his or her goals and aspirations.






Time Steps: My Musical Comedy Life (Donna McKechnie) is the autobiography of Donna McKechnie who inspired and performed the role of "Cassie" in "A Chorus Line." Her book recounts the roller-coaster career filled with unbelievable successes and disappointments that shaped her as an artist.






Steps in Time (Fred Astaire) is an autobiography of the legendary Fred Astaire (with a great little forward by his dancing partner, Ginger Rogers).  The memoir is honest and full of personal anecdotes (and nearly 50 amazing black and white photographs!).








Dance with Demons: The Life of Jerome Robbins (Greg Lawrence) tells the tale of the "nightmare genius" (Tony Walton).  While Robbins is remembered for his legendary works including West Side Story, Gypsy, and Fiddler on the Roof, his life was plagued with religious, political, and personal conflict.








Ballet and Modern Dance: A Concise History (Jack Anderson) describes the role of dance in history from the time of the Ancient Greeks and French royal courts all the way to contemporary modern and jazz styles.







Diet for Dancers: A Complete Guide to Nutrition and Weight Control (Robin D. Chmelar) was the first published nutritional guide based on research and outlining topics specific to dancers.








Can't Stop, Won't Stop: A History of the Hip Hop Generation (Jeff Chang) provides an extensive overview of the evolution of Hip Hop and its influence as a social and cultural movement.








That's the Joint: The Hip Hop Studies Reader (Mark Anthony Neal) discusses the gender, racial, social, and political impact of Hip Hop in the United States.








Books on my reading list:
I Was a Dancer (Jacques d'Amboise)
Dance Anatomy and Kinesiology (Karen Clippinger)
TAP! The Greatest Tap Stars and Their Stories 1900-1955 (Rusty Frank)
On the Line: The Creation of A Chorus Line (Robert Viagas)
Alvin Ailey: A Life in Dance (Jennifer Dunning)
Gene Kelly: A Life of Dance and Dreams (Alvin Yudkoff)
Buzz: The Life of Busby Berkeley (Jeffrey Spivak)


Feel free to comment with your reading suggestions!

So you want to be a "triple threat?"

A "triple threat" performer is someone who can act and sing and dance - sometimes all at once! It is vital for yourself and also for the industry that you are able to embrace all three disciplines, in order to survive. (Musical Theater Handbook by Gerry Tebbutt)

But one has to ask:
  • How important is it to really be a "triple threat?"
  • Doesn't the term "triple threat" just apply to musical theater?
  • How can I become a "triple threat?"
Well, Cameron Adams (The Music Man, Hairspray, Oklahoma!, Follies, Cry-Baby, Promises Promises, How to Succeed..., Nice Work If You Can Get It) was nice enough to answer a few of these questions for us. Check out what she has to say:


"The triple threat absolutely still exists. It's actually more important than it has ever been to be as well-rounded as possible. Most productions aren't hiring large ensembles anymore. Therefore, to get a spot in the ensemble you must be able to sing, dance, and act and usually understudy one of the leads. This isn't true for every production, but the more diverse you are the better your odds. Same goes when auditioning for roles. I always say you have more options out there if you're well-rounded and feel confident in all areas.


I think it's nothing more than taking classes. Knowing what your weaker areas are and searching for teachers or coaches that can help. And if it feels overwhelming, pull back a bit and take your time. It doesn't have to consume every part of your life. Being a well-rounded human being helps out with being a well-rounded performer."

You heard it here, folks! Hop in to BDC's amazing voice and acting classes (and obviously our dance classes too!) and you'll be on your way to becoming a true triple threat

  • Vocal Technique (Bettina Sheppard) Monday 2-3pm and Friday 3:30-5pm
  • Vocal Performance/Audition Technique (Bettina Sheppard) Monday 3-5:30pm
  • Acting for Dancers (Bronwen Carson) Tuesday 10:30am-12pm