PopMuse: Dance http://popmu.se Musings of stuff en-us Copyright 2007-2019 http://creativecommons.org/licenses/by-nc-sa/3.0/ Onstage This Week: Robert Binet Tackles Orpheus for National Ballet of Canada, Russian Ballet Theatre Tours the Northeast, and More! https://www.pointemagazine.com/onstage-this-week-robert-binet-tackles-orpheus-for-national-ballet-of-canada-russian-ballet-theatre-tours-the-northeast-and-more-2641319074.html https://www.pointemagazine.com/onstage-this-week-robert-binet-tackles-orpheus-for-national-ballet-of-canada-russian-ballet-theatre-tours-the-northeast-and-more-2641319074.html Tue, 12 Nov 2019 21:14:02 UTC Chava Lansky at Pointe Wonder what's going on in ballet this week? We've rounded up some highlights.The National Ballet of Canada Presents Robert Binet's New Take on Orpheus and EurydiceThe National Ballet of Canada presents a world premiere November 15-21: Robert Binet's Orpheus Alive. Binet, the company's choreographic associate, brings a fresh take to the Greek myth of Orpheus and Eurydice with mixed-gender casting; Orpheus will be danced by a woman, and Eurydice by a man. This new ballet features a commissioned score by Missy Mazzoli. Orpheus Alive joins the company premiere of George Balanchine's Chaconne on this mixed bill program. It's an apt pairing: Chaconne is set to Gluck's music for the opera Orfeo ed Euridice, and is Balanchine's abstract meditation on the same myth. Russian Ballet Theatre's "Swan Lake" Tours the NortheastRussian Ballet Theatre's tour of Swan Lake makes its way across the Northeast this week. November 12-17, the company makes stops in Albany and Syracuse, NY, Burlington, VT, Pittsfield, MA, New London, CT and New York City. This new production adds new choreography by Nadezhda Kalinina, designs by Sergey Novikov and special effects makeup by Irina Strukova to the classic ballet. Tom Gold Dance Fall Season Features World Premiere Tom Gold Dance on Instagram: “How are you spending your Sunday? We're in the studio, finalizing our preparation of Tom Gold's "Spectral Preludes," set to premiere during…” Tom Gold Dance's fall season runs November 15-16 at New York's Florence Gould Hall with the world premiere of Tom Gold's Spectral Preludes to Lera Auerbach's 24 Preludes for Piano. The cast of dancers includes former Miami City Ballet dancer and Conversations on Dance co-host Michael Sean Breeden, former Pennsylvania Ballet soloist and current dancewear designer Abigail Mentzer and more. Bodiography Collaborates With UK-Based Company Matrifisc Bodiography on Instagram: “In the studio creating new work with our guest choreographers, Ina Colizza, Antonello Apicella, and Giverny Welsch. Get your tickets to…” Pittsburgh-based contemporary ballet company Bodiography presents its annual concert November 15-16 at La Roche University's Byham Theater. The mixed-bill program features works by company artists Kirstie Corso, Nicole Jamison and Bethany Schimonsky, and Canadian choreographer Giverny Welsch. The program also includes Bodiography's partnership with Manchester, UK-based company Matrafisc. Matrifisc co-founder Antonella Apicella and Bodiography artistic director Maria Caruso have created new works for each other's dancers. http://creativecommons.org/licenses/by-nc-sa/3.0/ Dear Katie: How Can I Get My Développé Higher? https://www.dancespirit.com/dear-katie-higher-developpe-2641318167.html https://www.dancespirit.com/dear-katie-higher-developpe-2641318167.html Tue, 12 Nov 2019 18:32:26 UTC Kathryn Morgan at Dance Spirit In our Dear Katie series, Miami City Ballet soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email dearkatie@dancespirit.com for a chance to be featured!Dear Katie, I've been trying to improve my front d�velopp�, but I just can't get it higher than 90 degrees. I'm plenty flexible, and my side extension is pretty good. What am I doing wrong? AnnikaNoneDear Annika,Flexibility is one thing, but being able to hold it is an entirely different thing! Start by focusing on your supporting hip. The more we obsess over the working leg, the more we tend to grip our muscles, which can keep us from accessing our full range of flexibility. Shift that focus to your supporting side, and you might find you suddenly have a few extra degrees of extension. Often dancers distort their torsos in an effort to get the leg up in front. Not only does that ruin the line, it can also result in lower front extension. To avoid rounding your back, envision it arching—just slightly—as your leg extends front, and think of that opposite shoulder reaching for your working toe. Strength exercises will also help you support every bit of flexibility you have. I know I always recommend Pilates, but it really is fantastic for dancers! If you incorporate a few Pilates exercises into your daily warmup, you'll improve your extensions in every direction. For more of Katie's helpful tips and advice, click here. http://creativecommons.org/licenses/by-nc-sa/3.0/ "DWTS" Week 9 Recap: Boy Bands and Girl Groups https://www.dancespirit.com/dwts-recap-boy-bands-girl-groups-2641315348.html https://www.dancespirit.com/dwts-recap-boy-bands-girl-groups-2641315348.html Tue, 12 Nov 2019 15:34:59 UTC Cadence Neenan at Dance Spirit Last night's episode of "Dancing with the Stars" saw our pros and stars performing to music by all of our fave boy bands and girl groups, including the Spice Girls, One Direction, and K-Pop sensation BTS. As a bonus, the judges were joined by "DWTS" alumni and boy band aficionado/veteran Joey Fatone. As we get closer and closer to the finale (the semi-finals are next week, folks!), the dancing is only getting better. And last night also featured the elimination of one of the most controversial stars in "DWTS" history—talk about drama! In case you missed it, we rounded up the episode's danciest highlights.Kel Mitchell and Witney Carson: Paso DobleIf you're looking for "game face," look no further than Kel Mitchell and Witney Carson. In recent weeks, this couple has totally shocked us with their performances, and this week was no different. Our beloved "Good Burger" goofball transformed into a sexy, smoldering paso doble champ, right before our eyes. Kel isn't messing around anymore, folks—he's ready for the finale. The judges gave Kel and Witney two 8s and two 9s, for a total of 34 out of 40.James Van Der Beek and Emma Slater: JazzBe still, our 90s-loving hearts! Watching James Van Der Beek (of "Dawson's Creek" fame) performing to *NSYNC's "Bye Bye Bye" was a surreal, and perfect, moment. Dawson James and his partner Emma Slater brought all the body rolls and hair flips we ever could've dreamed of—and gave us a glimpse of what their freestyle might look like, if they make it through the semi-finals. The judges seemed a bit conflicted when it came to the scores, though, and gave James and Emma an 8, two 9s, and a 10 for their performance.Hannah Brown and Alan Bersten: TangoIt's been a tough season for our girl Hannah Brown. Though she seemed to hit her stride with last week's breakthrough performance, rehearsal footage from this week showed Hannah struggling with her perfectionist tendencies. Her first performance of last night's episode received disappointing scores—but then she and partner Alan Bersten brought us this fabulous tango, full of challenging choreo. "Permasmile" pageant queen Hannah is no more: She's in beast mode now, just in time for the semi-finals. The judges gave her tango one 9 (give us a break, Len Goodman!) and three 10s, for a total 39 out of 40.NoneThe episode ended with a surprising, though overdue, elimination. For the first time this season, former White House press secretary Sean Spicer and partner Jenna Johnson ended up in jeopardy, alongside country queen Lauren Alaina and Gleb Savchenko. Though the judges spoke to Sean's tenacity, they didn't hesitate to send him home.What do you think? Who's headed for the Mirrorball Trophy? http://creativecommons.org/licenses/by-nc-sa/3.0/ Inside New York City Ballet Principal Lauren Lovette’s Dance Bag https://www.pointemagazine.com/lauren-lovette-dance-bag-2640876819.html https://www.pointemagazine.com/lauren-lovette-dance-bag-2640876819.html Tue, 12 Nov 2019 15:26:39 UTC Chava Lansky at Pointe New York City Ballet principal Lauren Lovette tries hard to focus on wellness despite her busy schedule. Her Hydro Flask water bottle—a gift from colleague Indiana Woodward—is emblazoned with the words "Be Here Now," a daily reminder to stay present. Lovette also keeps two doTERRA essential oils in her bag, and starts each day with Citrus Bliss. "I put it on my wrist at barre, and smell it," she says. "It just keeps me in a positive mood." Another scent, Balance, is reserved for days when she's feeling particularly frazzled.Lovette is also a master of hacks. She cuts the tops off old pairs of tights to create belts, and sewed a pair of socks into the inside of her legwarmers. "I like the extra heat on my calves," she says. When the company's not in season, Lovette sews her pointe shoes with colored thread, "just for fun." And her dance bag usually includes DIY snacks. Lovette regularly makes cowboy cookies, a favorite family recipe she's tweaked to be vegan. The GoodsClockwise from left: Hot Stuff Instant Glue, Puma duffel, Old Spice Sweat Defense deodorant ("This is the best; it actually lasts all day"), Salonpas gel, Maybelline makeup, crochet thread, custom Freed pointe shoes ("I grew up paying for my own shoes, so I try to make them last"), rehearsal sneakers ("These are specially designed for Justin Peck's The Times Are Racing"), doTERRA essential oils, PerfectFit Pointe Shoe Inserts ("I love them! I was one of their first trials"), backpack ("It's meant to be a diaper bag, so it has lots of compartments"), thermos, Hydro Flask water bottle, practice tutu ("This is an old NYCB tutu. Some people think it's from Copp�lia"), legwarmers, wrap skirt ("Someone in the Royal Danish Ballet made this for me when I was there doing Stars and Stripes last year"), Bang & Olufsen headphones, perfume, Tiger Balm, gum, Claritin, Trigger Point massage balls ("I like to use them on my back"), headband, nuts, scissors, Unreal chocolate, Tylenol, Band-Aids, belts, cookies, ballet slippers ("These are from a photo shoot that needed white shoes. I always do barre in socks"). http://creativecommons.org/licenses/by-nc-sa/3.0/ Why You Should Know Theatrical Dynamo Liam Redford https://www.dancespirit.com/you-should-know-liam-redford-2641262876.html https://www.dancespirit.com/you-should-know-liam-redford-2641262876.html Mon, 11 Nov 2019 18:01:58 UTC Amanda Sherwin at Dance Spirit Fearlessly expressive, triple threat Liam Redford is undeniably Broadway-bound. But the 13-year-old isn't waiting until he's older to step into the spotlight. Liam's already played one of his dream roles, the title character in Billy Elliot: The Musical, in five regional productions of the show, beginning with his debut at the Grand Theater in Williamstown, NJ, and concluding at the Opera House Theatre Company in Wilmington, NC, this past summer. In less than two years, Liam performed as Billy exactly 100 times, but he says he never got tired of the role, finding something new to explore and appreciate in every show (can you say #professional?). A seasoned storyteller, Liam hasn't just excelled in the role of Billy–most recently, he performed in Fun Home at the Front Throw Theatre Company in Philadelphia, while continuing to train in dance, voice and acting.Fast FactsBirthday: 1/12/2006Hometown: North Hanover, NJTrained at: Dansations School of Dance in Hainesport, NJ (Due to Liam's rigorous performance schedule, in the past year he's only been home about five weeks, so most of his training is on the go!)Most-played song: "Any songs by Ben Platt"Three words to describe his dancing: Electric, inspired, powerfulFavorite dancer of all time: Ben CookAdvice for other dancers: "Always stay true to yourself, and bring your own self to every role."NoneNoneGo-to stress reliever: Improv dancingStrangest thing in his dance bag: Wooden foot-stretcherMust-see TV show: "Parks and Recreation" and "Unbreakable Kimmy Schmidt"Dream dance role: "Billy Elliot was my dream role! I'd also love to play Mike in A Chorus Line one day."Non-dance hobbies: "I'm learning circus skills like juggling and aerial work, plus acting and singing." http://creativecommons.org/licenses/by-nc-sa/3.0/ Kyle Hanagami’s Google Nest Promo Is a Delightful Peek at His Choreographic Process https://www.dancespirit.com/kyle-hanagami-google-nest-2641304967.html https://www.dancespirit.com/kyle-hanagami-google-nest-2641304967.html Mon, 11 Nov 2019 15:33:35 UTC Margaret Fuhrer at Dance Spirit We're always here for a good dance-tech collab. If it involves genius choreographer Kyle Hanagami? Even better. How about Kyle Hanagami and a crew of A-list dancers? Yes please. What about Kyle Hanagami, A-list dancers, and a device that might actually be useful to dancers and choreographers? That's a YAAAAAAAS.The new Google Nest Hub Max has a nifty feature: You can use hand signals to start and stop music on the device, without actually touching it. The smart folks at Google recognized that that's the kind of thing choreographers could use all the time. (How convenient not to have to walk back and forth across the studio repeatedly while you're working out a phrase?) So they got Hanagami to make a video illustrating exactly how handy the Nest is. NoneHanagami did not disappoint. He enlisted a bunch of his/our favorite dancers—including Charlize Glass, Floris Bosveld, Madison Cubbage, and Anthony Westlake—and created a kind of candy-colored fantasia on his choreographic process, set to Curio's "Shake":NoneTo accompany the promo, Hanagami kicked off #TheMaxDance challenge. He's asking fans to learn some of the video's choreography, fill in their own moves during a pause break, and share the result on Instagram. Glass, overachiever that she is, is already on it: char char ☆ on Instagram: “Loving how i can control the music on Nest Hub Max! It's so convenient using just hand gestures 🤚🏼to play ▶️ & pause ⏯ the music. Thanks to…” http://creativecommons.org/licenses/by-nc-sa/3.0/ How Getting a Job at Your Dance Studio Can Benefit Your Wallet—and Career Path https://www.dancespirit.com/get-a-job-at-your-dance-studio-2641269150.html https://www.dancespirit.com/get-a-job-at-your-dance-studio-2641269150.html Fri, 08 Nov 2019 21:32:32 UTC Jenny Ouellette at Dance Spirit If you're in high school, working after school/on the weekends/over the summer may be a reality you're not keen to face. After all, you've got enough to worry about: homework, rehearsals, technique classes, and maybe even college applications. But a job doesn't have to mean babysitting or folding sweaters at Madewell. Instead, you can develop the same communication, organizational, and leadership skills—not to mention earn a little green—by working at the very place you likely already spend the most time: your dance studio. Teaching is probably the first studio job that comes to mind, but there are other roles that can be invaluable to your eventual career. "I grew up training hard as a dancer and studying visual arts, but I was also academic and analytical—I loved the rigorous side of school," says dancer Anna Marchisello, a former student at CC & Co. Dance Complex in Raleigh, NC, who has assisted Stacey Tookey and Kirsten Russell and works as a production manager in NYC with Jonathan Berger.Getting the JobInterested in pursuing a job at the studio? Approach your studio director about your desire to work. Be up front about your interests and intents, as well as your schedule. She may have questions, like: What are you hoping to get out of the work? Why are you interested in a position? Be ready with a few prepared answers.You might find out that your studio already has a formal work-study program. At CC & Co. Dance Complex, for instance, "there's an assistant teaching program for students ages 12 and up and an internship program for four or five graduating seniors or those who have just graduated," says owner Christy Curtis. At Westchester Dance Academy in Mt. Kisko, NY, there isn't a formal work-study program, but Sallie Burke, co-owner and studio administrator, is almost always receptive to students' requests. "Most often, the students who approach me about studio work are used to discipline and are easily trainable," she says. "I love hiring students—they're efficient, bright, and organized." Your conversations with the studio director or administrator should also include the not-so-easy-to-discuss topic of compensation. If, like at CC & Co., your studio has a program in place, the number of hours worked and starting wages might be set. "Assistant teachers receive tuition discounts per number of hours worked, while interns receive an hourly wage," says Curtis. At Westchester Dance Academy, two or three students are often fulfilling their school's work-study requirements, and thus only receive school credits they need to graduate. The numbers of hours students work depend on their school's academic guidelines, but "we work out their schedule in the beginning," says Burke, "and they follow through the whole semester." NoneThe Work In the studio office, you'll likely assume administrative tasks: registering new dancers, drafting memos, uploading music to various competition websites, helping with costume measurements and shoe fittings, and posting to the school's social media accounts. Westchester Academy students also use Jackrabbit—studio-specific software that many schools across the country employ to track registration, attendance, and tuition. "I only allow tuition to be handled by our full-time office staff member," says Burke, "but our students definitely get familiar with the software, pulling attendance sheets and adding newcomers into the system. They also use Word, QuickBooks, Excel, and Google Docs." Make it Your OwnIf you have particular interests outside of dance, brainstorm with your studio's director about specific roles or odd jobs that can be tailored to you. One of Curtis' former students, for instance, studies communications at Pace University, and has helped manage the social platforms for CC & Co.'s nonprofit, Move it Raleigh. Love writing? Consider contributing to your studio's newsletter or drafting studio-parent communications. Interested in photography? Burke often asks her Westchester work-study kids to snap class pics to use on the studio's social feeds or in brochures. Marchisello channeled her visual arts and design savvy to create logos for CC & Co.'s annual performances and studio apparel, and assisted with costuming guest artists' pieces, taking their early visions and bringing them to fruition.Most recently in her work as a production manager, for Berger, Marchisello coordinated a team of about 15 people who were making giant sculptural pieces—Marchisello often draws on her experiences assisting Curtis at CC & Co. "Everyone on the team has different strengths," she says. "Christy taught me to take stock in everyone's individual passions—what each is capable of and fulfilled by. Divvying up the work that way makes for a really efficient, supportive, and passion-driven environment." Ultimately, Marchisello's experience working for her studio was the foundation for the multifaceted arts career she enjoys today. "It first showed me that I could combine my creative and academic sides into one—I didn't have to keep my interests separate," she says. http://creativecommons.org/licenses/by-nc-sa/3.0/ How BalletX's Roderick Phifer Leapt from a BFA to Company Life https://www.pointemagazine.com/higher-ed-guide-roderick-phifer-2640877472.html https://www.pointemagazine.com/higher-ed-guide-roderick-phifer-2640877472.html Fri, 08 Nov 2019 21:30:37 UTC Cadence Neenan at Pointe This is one of a series of stories on recent graduates' on-campus experiences—and the connections they made that jump-started their dance careers. Roderick Phifer graduated from University of the Arts with a BFA in dance in 2017. While walking out of a technique class during the first semester of his senior year at Philadelphia's University of the Arts, Roderick Phifer was approached with an unexpected offer. BalletX needed a guest artist for an upcoming performance, and after seeing Phifer perform in one of his senior shows, a UArts alumnus dancing with the company had offered up his name. Phifer ran straight from his technique class to a company class with BalletX, and the troupe's artistic leadership quickly gave him the green light to perform. "It was so last-minute, that, I kid you not, I had three rehearsals," he says. He performed with BalletX as a guest artist that fall, auditioned for an open company position in the spring and had a contract by the end of his senior year. NoneLooking for something different: Coming from a competition studio, Phifer was looking for a collegiate program to round out his dance knowledge and to catch up on ballet. "We solely trained to compete and focused mainly on contemporary, tap and hip hop," he says. "I knew that I needed a little bit more knowledge on what actually was out there in the dance world."Incorporating improv: At UArts, Phifer took a mandatory improvisation class, and like many dancers, struggled at first with the practice. "Even to this day, I wouldn't say it's my favorite thing to do, but now I'm just so much more comfortable with who I am, and what I bring to the table."NoneFavorite part of college: The friendships. "I learned to find a brotherhood somewhere that wasn't home, and somewhere that was completely out of my comfort zone."Loving to learn: "UArts put me in that position where I had no other choice but to be ready and willing to learn something new." This attitude has helped Phifer at BalletX, a company focused on premiering new works regularly. In his three seasons with the company, he has learned 25 to 30 new pieces.Advice for dancers considering college: "You want to be in an environment where you're having fun or you're learning to have fun with the things that you're doing," he says. "Take care of who you are because you're a person first, before anything else." http://creativecommons.org/licenses/by-nc-sa/3.0/ Ballet West Couple Beckanne Sisk and Chase O'Connell Play the Shoe Game... Ballet Style https://www.pointemagazine.com/beckanne-sisk-chase-oconnell-2641268697.html https://www.pointemagazine.com/beckanne-sisk-chase-oconnell-2641268697.html Fri, 08 Nov 2019 20:54:30 UTC Josephine Lee at Pointe In this video ThePointeShop's Josephine Lee may not be giving her usual pointe shoe advice, but she is putting pointe shoes to good use... in the classic wedding shoe game. She plays with newly engaged Ballet West dancers Beckanne Sisk and Chase O'Connell to find out how well the couple knows each other. http://creativecommons.org/licenses/by-nc-sa/3.0/ A Brand-New Rockette Interviews a Veteran Rockette https://www.dancespirit.com/new-rockette-interviews-veteran-2641251608.html https://www.dancespirit.com/new-rockette-interviews-veteran-2641251608.html Thu, 07 Nov 2019 21:27:35 UTC Dance Spirit at Dance Spirit Every year, hundreds of dancers audition for a chance to become a Radio City Rockette. Only a lucky few make the cut—this season, there are 13 newbies on the line—but many of them go on to perform with the Rockettes for years. Dance Spirit had the chance to listen in as first-year Rockette Mara Ranson asked 10-year veteran Corey Whalen all her burning questions about what it's really like to dance in the world's most famous kickline.—as told to Helen RolfeNoneNoneMara: Hi, Corey!Corey: Hi, Mara!M: How did you learn about the Rockettes? C: My family got tickets when I was 16. I thought they were really amazing, but I was very shy as a young dancer—not exactly running into the next audition. When I turned 18, my teacher pushed me to audition.M: What was that first audition experience like?C: Petrifying! It was my first professional audition. I got there early, but the line was already wrapped around Radio City. The audition itself was intense. I had no prior knowledge, so it was all brand-new information, but I was called back for the next day. I made friends with a girl who came to the hotel where my mom and I were staying, and we practiced together overnight. The next day, I went back and made it through. But, in the end, I didn't get a call. I went to the Rockettes Summer Intensive the following summer, and got a much better idea of what the Rockettes expect, which helped at my next audition. But that first experience was nerve-racking. M: Oh, I know. My first two or three auditions, I was a nervous wreck and didn't do well at all.C: Your nerves get the best of you a bit!NoneM: What has changed for you since you started?C: What the Rockettes do is so precise that it's almost like a math equation. My first year was so overwhelming, learning every precise detail as to where your fingertips and eyeballs are. But once you get one or two seasons under your belt, those things become second nature. Now I'm able to focus on nuances and enjoying the choreography without stressing about where my foot is going.M: What helped that first season? C: Honestly, the women you work with make all the difference. You're one of 13 new girls. I was one of eight. You create incredible bonds with the new dancers because you're all going through it for the first time. And the veterans you befriend are life-changing, too. A veteran swing my first year was my saving grace. She'd write down notes and little pictures that helped me. M: Would you say that's what surprised you most—how much of a math equation it all is?C: I think so. Plus, the workload is something a lot of dancers haven't experienced: six hours a day, six days a week. When I started, I was in a touring group, so there was only our one cast. We did insane amounts of shows back to back. Now, you're doing four shows in a day and coming back the next for more. NoneNoneM: Speaking of those four-show days: What have you found helpful to get through them?C: The other girls! You'll get to know the seven other women in your dressing room really well. I've been with my same girls for going on five seasons. There's always someone to lift you up. My dressing room does Secret Santa during our four-show days, so there's always something to look forward to. You need it—it's a looooooooong day.M: Those 10 pm shows, right?C: Get ready for 'em! M: Was there a moment when it hit you in your first season, like, "Wow, I'm a Rockette!" C: I'm from Rhode Island and, by luck, the first city we toured to was Providence, RI. Opening night, we put on our costumes and men from the U.S. armed forces escorted us down a red carpet into the theater. They had fake snow raining down, everyone was cheering—it was such a surreal moment. To arrive at a theater that I grew up going to, knowing I was going to perform with all my family and friends there for opening night…I'll never forget it.NoneNoneM: What a serendipitous moment! Do you have a favorite number in the show?C: I honestly love "The 12 Days of Christmas." Tap isn't my strongest suit, but as my 10 seasons have gone on, I've really enjoyed getting to experience all the different "days," where you're dancing as a swan or a piper or a goose. M: I've always loved "12 Days." It's also my favorite costume. Do you have a favorite? C: I love that one, too. It's such a classic Rockette look, with the corset and the frilly tutu. And your family can still pick you out, without a wig or ragdoll glasses in the way!M: Throughout your seasons of doing the show on the road and at Radio City, there've been lots of changes. Any numbers from the past that you miss?C: I'm sure I'm not alone in this—a lot of women who've done the show also really loved "Shine."M: It's my favorite finale.C: I started with it on the road. The scrim comes up, there's a bluish, foggy light on us. We're in shimmering costumes covered in 3,000 Swarovski crystals, so we were just dripping in diamonds. Right before, they showed a video going through the history of the Rockettes. Hearing those words as we went up on the beautiful staircase, we felt like we were carrying on this amazing legacy. NoneM: We're in Christmas mode for months and months. Do you get sick of Christmas?C: A lot of people ask me that. I don't know how you feel, but I compartmentalize. It just doesn't feel like Christmas music. M: I was having this conversation with my sister the other day, telling her my brain doesn't even register that it's Christmas music. C: The holidays have never been ruined for me, and it'll probably be the same for you. The show is one part of Christmas, and celebrating with your family and friends is another.M: What has been your coolest experience as a Rockette? C: The Rockefeller Center tree lighting. It was a smaller group of us, and we got to do "Shine." The audience is close, which is cool because you can watch them—M: Experiencing it with you?C: Yes! As soon as we were done, we lined up with the NBC anchors and the mayor and watched as they lit the tree up.NoneNoneM: That's awesome. Any onstage mishaps that stick out in your mind?C: One of the funniest happened on the road in Omaha, NB. We enter for "New York at Christmas" on a double-decker bus. There are two bus doors—one at the front, one at the back—but only one set of doors opened. We were looking off into the wings for our dance captain, wondering what to do. Finally, crewmen came onstage, trying to manually push the bus upstage so we had room to dance.M: What do you think being a Rockette in 2019 means?C: It's a testament to the company that the Rockettes have been at Radio City since 1932 and are still such a part of NYC culture. I meet families who come to the show every year, and they've seen the evolution of the Rockettes over time. Anybody can see that the intensity of the dancing has advanced over the years. It takes some pretty strong, athletic women to get through 100 shows in under two months. You'll feel like a rock star when you finish the season!M: Final question: What has being a Rockette taught you about yourself?C: I didn't know I could be this disciplined. It's a very intense 90-minute show with very little recovery time. On top of that, the friendships I've made are unlike anything else. I had women at my wedding that I met on day one of Rockette boot camp. You share a bond unlike any other. http://creativecommons.org/licenses/by-nc-sa/3.0/