Telluride Round 2

BalletCollective in Telluride

Being in Telluride has been a breath of fresh air especially for me following my tick ordeal. From the mountainous view seen from my peaceful terrace, the lush green landscapes, wildlife sightings and welcoming community, BalletCollective feels at home.

This week, BalletCollective has been hard at work and hard at play! Each day the dancers take ballet class, taught by Troy, and then begin the day's rehearsals inhaling bottled oxygen every step of the way. The altitude here in Telluride is over 8,700 ft, and takes time to get used to. Last year I tried to be tough and refrain from using the oxygen, but this year I have no shame. It is helping me with the Lyme diseases and with the stamina needed for the intense ballets.

This year's workshop performance at Telluride's The Palm Theater will include last year's Dear and Blackbirds, the new Mark Dancigers male duet featuring David and Taylor, and the new group ballet composed by Ellis Ludwig-Leone. Both new works, though they were started in our Millbrook residency this past June, have been refined and polished here in Telluride. Troy's goal is to get the works in great shape for the workshop performance this Saturday which will then function as finished templates for our upcoming New York season at the Skirball Center November 4th and 5th.

David and Taylor in Bunker, Photo: Troy Schumacher

In the midst of rehearsing five hours a day, we make time for hot tubs to soak our muscles, walks along the river, nighttime gondola rides, fun family dinners, ice cream runs, and social events to raise awareness for our upcoming show.

Additionally, Troy has begun filming at some of Telluride's most remote and beautiful landscapes to capture moments from each new work soon to become short films. Last year Harrison, Troy and I filmed the last movement of Dear and Blackbirds on Willson Messa (where Harrison's childhood home stands). The film captures the emotion of our dance and the magical picturesque backdrop of Telluride.

Just yesterday, Troy, David and Taylor ventured to a brick bunker-like location with painted rustic doors, rough ground, and shot moments from the male duet. Today, Troy and Harrison are ATVing to a remote quarry near a waterfall in the mountains to shoot Harrison's solo from the new group ballet. I can't wait for you to see the footage.

Harrison in Quarry, Photo: Lauren King

Tonight we have an open rehearsal for the community to come experience the residency and its creative process. Then the dancers, Brandon, Troy and I will head to a cocktail party celebrating BalletCollective followed by a pig roast in the park with the Telluridians!

Few Days Away - Unexpected Cast Change

Me by BalletCollective's Wild Posting Ads

BalletCollective is just a few days away from our New York season at the NYU Skirball Center! We have been in the studio at New 42nd Street rehearsing this past week, refining the ballets and preparing for the performances. With an unexpected bump in the road, we are in good shape.

Just last Sunday, as our New York City Ballet fall season came to a close, Harrison Coll hurt his foot dancing in the last ballet of the matinee, George Balanchine's Theme and Variations. Sidelined for the next few weeks, on crutches and in a boot, Harrison sadly will not be performing with us this Wednesday and Thursday but will make a full recovery.

After much discussion and weighing our options, Troy came to the conclusion that since we were unable to find a replacement for Harrison (with such little notice and time), and with a number of dancers already committed to other projects or on vacation... he would dance! Although Troy is wearing many hats: director, producer, now dancer, he is the perfect fill-in. Having created the ballets, he has a greater understanding of the steps, and knows exactly how they should be done; they are his steps and creation after all!

Late last Monday night, soon after making the decision that he was to dance in both The Impulse Wants Company and also the premiere of Dear and Blackbirds, I dared Troy to put on the music and run the Dear and Blackbirds pas de deux with me. It was a sight to see! In our living room, at 10pm in my Uniqlo pajamas, he and I were jumbling through the ten minute piece. Not surprisingly, Troy basically knew the whole work. I knew plugging him into the ballets would be no sweat!

In our late night mock rehearsal, I realized that Dear and Blackbirds was going to be a new experience for me. Having a work made on you and another dancer creates a strong bond and connection. You develop your individual "characters" or impressions and mental connections with that other person. After working out the kinks, and having several performing opportunities, dancing excerpts in Fire Island and in Telluride, Harrison and I had built a chemistry that just kept growing  each time we danced the pas de deux. It was intimate, refreshing and always a joy. In a way, I always knew where he was going to be or what his next move was, or even what the emotional arc was trending that day. With Harrison gone, I know this will be a new experience of exploration in dancing with Troy, and we have already begun reinventing the piece for the two of us and having fun doing it! (I only hit him with my elbow once! OOPS!)

These past few days have been hard work but by the end of yesterday, Troy had been slotted in to both ballets and the second of two premieres, All That We See, was put back together. All three ballets are in great shape for tomorrow
when we rehearse with the musicians for the first time!

For ticket information go to BalletCollective.com We hope to see you there!

Traveling to Telluride

Early last week, BalletCollective (all seven dancers, plus Brandon - lighting designer, and, of course, Troy) boarded a plane en route to Denver, Colorado followed by a quick transfer to Montrose, where we were to be shuttled an hour and a half to our home sweet home for the week, on Wilson Mesa outside of Telluride, for our first summer residency!

BalletCollective has always wanted to have a summer residency so when we were asked to come to Colorado, it was perfect. The thought of having the opportunity to be in a breath taking place such as Telluride, surrounded by nature, endless outdoorsy activities at our reach (to take advantage of after or in-between our rehearsals), and for Troy to get to create, and the company to rehearse and perform - was a dream come true.

Room with a View
Photo By Ashley Laracey

"Welcome to Colorado", the Captain announced. We quickly jumped off the plane and were immediately out of breath as the altitude in Montrose is just over 5000 feet. After grabbing some water  at the concession located near baggage claim (supposedly to avoid altitude sickness one should drink tons of water) and collecting all our checked bags (yay they all made it!), we piled into the waiting 10 passenger van and began our journey to the Mesa. Upon arriving at Wilson Mesa, elevation over 8000 feet (located just 30 minutes outside the town of Telluride), we were all blown away by the beauty of the massive landscapes unique to Colorado. Waterfalls, large reddish rock, deer grazing in the fields, and the occasional brown bear or elk were our entertainment for the week. We were living in a National Geographic magazine or, even more, a NGC episode in high definition! It was truly unbelievable.

The house up on Wilson Mesa was generously donated for the week to BalletCollective. Just so happens it is home to one of our dancers, Harrison Coll, and his parents. It is their family home that they frequent often and for many weeks at a time most summers, winter and spring breaks. Harrison was in his childhood vacation home and definitely ready to be our tour guide for the week! He made our stay memorable and full of adventure! We are very thankful to him and his parents for their generosity. More on our adventures to come...

After receiving the grand tour of the "cabin" house, and everyone finding their new rooms, we began preparing our first meal on tour as a BalletCollective family. (The Coll's so kindly stocked the fridge with enough food for all nine of us for a few days, so we didn't have to make another trip into town for groceries after our 12 hour travel day.) Troy and some of the dancers cooked and a few us, including me, were the "Dish Queens". We had steaks, sweet potatoes, salad, and zucchini! It was delicious. We toasted with non-alcoholic beverages, as it is advisable to refrain from consuming alcohol (or other dehydrating liquids) your first few nights as it makes getting over the altitude sickness and adjustment to it harder. After a quick clean up we headed to the fire pit for S'mores and banter!

Soon the stars we shinning, shooting stars were shooting. We settled in for the night after everyone had witnessed a lucky shooting star! The adventures are just beginning...

Fire Island - Dancers Responding to AIDS

Being a part of the Fire Island Dance Festival was an absolutely incredible experience! BalletCollective not only made its company debut appearance at the festival, we also premiered an excerpt of our newest work Dear and Blackbirds.

Awaiting the Pines ferry
Photo by Troy Schumacher

The journey to the island is a bit of a trek - an hour and half bus ride from the city to The Pines Ferry, a 20 minute ferry ride, and then a casual walk on the boardwalk to the location. But once you set your eyes on the Pines and the Fire Island Dance Festival performance venue, you fall in love.

Throughout the weekend, the performers and dance companies were on tight itineraries to ensure that we could make it to all the wonderful events, see the amazing beach houses (our hosts have an original 50's beach house!), take a dip in the many pools, and of course be wined and dined by the amazing people who make the Dancers Responding to AIDS (DRA) possible.

Friday, after arriving on the island, we made our way to the first of our scheduled events - a pool party! We relaxed, had some lunch, and then freshened up for the opening night cocktail party. We were then punctually whisked away to the cocktail party, met a few hundred people, and enjoyed a performance by the Mark Stuart Dance Theater. Immediately following we were graciously met by our host families holding up a sign that read "Troy and Ashley Schumacher". Troy and I were hosted by Jim Streaker and Scott Ahlborn. Upon arriving at their beach house we were immediately struck by its 50's charm and detail! Jim and Scott were so welcoming, respectful, open,

50's Beach House
Photo by Troy Schumacher

funny and just a joy to be around. Troy and I were greeted in the morning by coffee and a freshly made frittata with vegetables from their garden, and in the evenings after the performances yummy Malibu cocktails or martinis with pickled green tomatoes! We sat, watched the passers-by from their all-glass windowed living room, and enjoyed each other's company!

Our host family's house was conveniently located two doors down from the dancers' greenroom and four doors down from the performance venue. We had the best and most prime location for everything! It made life so much easier (the other dancers had to lug their performance clothing and dance bags to and from events to make sure they'd have all that they needed for the tech run through and performances). I just had to walk next door.

Because the greenroom was so close to my house and the performance venue, Harrison Coll and I warmed up in my hosts' kitchen. It was more comfortable and less chaotic than the greenroom, as we were only two, instead of 20, trying to warm up and get in the zone. Dear and Blackbirds was fifth on the program, so at the top of the tech rehearsal or show, Harrison and I would make our short walk to the green room, put on our costumes and make any last minute adjustments before being escorted to the venue.

Rehearsal "Dear and Blackbirds"
Photo by Troy Schumacher

Saturday was performance day! After a brief orientation and coffee time with our hosts, Harrison came over and he and I gave ourselves a ballet class warm-up in the kitchen. Our tech run-through was at 1:40pm. This was our first time up on the stage, feeling the floor, etc. The intense natural sun light was blinding, and the no wings or backdrop (just the ocean) was disorienting, but after a few minutes of trying things we were ready to begin our walk through. Troy went over the musical cues with the tech crew while Harrison and I took our places for the top of Dear and Blackbirds. In the midst of our tech rehearsal, Troy says to us, "Get together... picture time!" We do as we are told, and then look behind us and there, waving, were Jim and Scott... kayaking behind the stage! It was the coolest thing ever! They watched our run-through from the ocean.

After our run-through, Troy, Harrison and I took a dip in Harrison's hosts' pool to cool off and relax for a few. At 3:15pm Troy and I headed back to our 50's beach house to regroup and get focused for the first performance. At 3:30pm I jumped in the shower to warm up, then started to put on my face (do my stage makeup). Since the lighting is "au naturale" my stage makeup reflected that: mascara, a little eyeshadow, blush and lip gloss. At 4pm Harrison came over and we began our joint warm up together. An hour later, the show began. We headed over to the greenroom, slipped on our costumes-- mine a blue dress from Lord and Taylor, and Harrison's a Uniqlo polo shirt and mustard yellow Zara pants cut into shorts--styled by myself, Troy and Jeff from the DRA. I sewed in my point shoe ribbons, grabbed last minute rosin and a sip of water. Soon we were escorted to the "on deck" position and awaited our turn!

To be continued...

Day 1 Fire Island Rehearsal Period

After a hard week touring with NYCB in Saratoga, Troy, Harrison and I are back in NYC, working on Dear and Blackbirds. An excerpt of Dear and Blackbirds will debut this weekend at the Fire Island Dance Festival!

Rehearsing in Saratoga
Photo by Troy Schumacher

Yesterday's rehearsal was so much fun! Up until then, we had worked on Dear and Blackbirds in segments meaning section by section, continuing to choreograph the lengthy pas de deux and rarely going back to the beginning.  This was because we were rehearsing with limited time in between NYCB rehearsals or during performances, so the priority was to keep making progress on the choreography and save the connecting and cleaning for this rehearsal week. 

Troy's plan worked! We started the rehearsal with a calm confidence knowing that the excerpt of Dear and Blackbirds to be performed at Fire Island was finished choreographically, so Troy could focus on piecing it together. To aid in the connecting of sections, Harrison and I did our homework  (meaning we watched the rehearsal videos the night before so we could come in prepared knowing all of our steps). 

Harrison and I took our places for the start on the ballet and Troy pushed play! We were off! Though not making it too far without stopping, we managed to work our way through the seven minute pas de deux. Fixing heads, arms, timing, and working on character development, within an hour we had gone through the entire ballet. Harrison and I grabbed some water, and then while looking out the window into the hustle and bustle of Times Square, both thought "We should try running this thing!"

So that's exactly what we did. "Taking it easy," we said, but easier said than done. We didn't take it easy, we ran Dear and Blackbirds! It was a great feeling to be able to run the ballet and see our way through to the end. As the ballet is only two dancers it is physically demanding so to reach the end pose we were both beyond thrilled. We did it! No mess ups, no stopping! 

Harrison, Troy and I all left New 42nd Street Studios feeling excited!

Joyce Performance Recap: Wednesday

Photo: Erin Baiano

Now that I am somewhat rested, a day under my belt in Tennessee and my dog Bailey on my lap, Ithought I would share my insider's view of BalletCollective's experience performing at the Joyce.

Wednesday the nerves were flowing. Why? Because there was much to accomplish in a short amount of time. With the ballets in performance-ready shape it was now a matter of configuring the lights and working the ballets on the actual stage. The Joyce's Balletv6.0 festival only allows a day of the show load in and load out. This tight set up and take down enables the Joyce to have six companies in the short two week run. Yet, it makes for a stressful start.

As BalletCollective had never performed at the Joyce theater, we were all unsure of what the experience would entail. Troy and Brandon headed to the theater bright and early Wednesday morning. With only two hours allotted to hang, prep and configure the lighting, Brandon needed to have his design set before he entered the theater. Troy's dad and stepmom acted as dancer doubles by walking around the stage while Troy and Brandon worked out the kinks of the lighting. By noon, the lighting had been cued and the stage was ready for the dancers and musicians.

BalletCollective arrived at the Joyce in time for our one and only rehearsal in the theater, which so happened to be our dress rehearsal as well. The Joyce Theater designates the company's dress rehearsal as the official time for the press photographers to shoot. This then makes for a pleasant performing experience for the performers and the audience members, as there are no photography/photographers allowed during performances.

Our dress rehearsal went off without a hitch! We ran both The Impulse Wants Company and Epistasis smoothly. BalletCollective was ready!

After a short break, a chai tea and a banana (my pre-show snack) I was ready to begin my performance make-up and hair. The dancers, all in the same dressing room (this may be unconventional to most, but we enjoy being together no matter our gender. Bathrooms suffice for changing and keeping privacy.), have the music blasting as we put on our stage faces. With many jokes being made and fun stories being told, the dancers were calm and seemed to be pumped up!

An hour before the curtain goes up I am in the studio warming up. First some stretching and light strengthening exercises, then I am ready to begin my barre (a series of ballet exercises that we do to ensure that our muscles are ready to perform). Sweating in my LuLu Lemon warmups, I do my last part of my warmup: my crunches to ensure a tight center and also in hopes of showing cut abs (for both my costumes I was wearing a midriff top which showed my tummy... yikes).

As we were all finishing up our warmups, Troy entered with "Merde cards" (comments on our work) and began his pre-show pep-talk. Troy acknowledged how a year ago he didn't know where BalletCollective would be, let alone be debuting at the Joyce Theater. He expressed his appreciation and gratitude for all of the dancers' hard work over the past few months. Getting choked up, he slowed down and took a deep breath as he explained how much he had loved working with each one of us, and that he couldn't have done this without us. He rounded the room with hugs for all while wiping tears.  (It was extra hard for me to hold back tears as I watched Troy get emotional. We and BalletCollective have come so far that it was a great sense of joy to be where we were.) He said Merde and out he went to the audience. It was now up to us to pull this off.

Costume is on and I head to the stage to practice before the "curtain goes up".

One of BalletCollective's signature moves is to do away with the curtain. In all of our seasons we have never had a curtain for the performances. Most companies keep the pre-warmup and practicing a mystery but Troy thinks that it breaks down a barrier that makes the process more interesting for our audience members. It creates a more intimate viewing. The audience is able to learn about the dancers and their individual personalities and quirks. For example, I like to practice many steps and go over the ballets on stage right before the performance begins. I also do a specific on stage warmup which consists of running the perimeter of the stage, a few turns, and then 16 jumps (8 small, 8 big) followed by a high five on the last jump. Other dancers do not do as much. Some stand and chat, stretch or pace.

Soon the house was packed. The sounds of excited audience members filled the stage. Brandon gave us the "places" call and the dancers cleared the stage.

The performance was about to begin. The musicians tuned and the lights dimmed. Hugs and exchanges of "merde" occurred. The first notes of The Impulse Wants Company were heard... BalletCollective's debut performance had begun!

Photo: Erin Baiano

The music to Impulse is quite difficult to count but the challenging rhythm must be counted because it determines where we are in the music and when we are to enter or do specific steps. Since it is not typical, easy to count music, we count as a group to stay focused. After all of us counting 6,10, 8, 10, first David went out and met Kaitlyn, who was already on stage. The dancers remaining in the wings kept their focus and before long Meagan, Lauren and I were counting our 10, 6, and three 8's. Then we were on stage. My first appearance at the Joyce was in action.

Before I knew it the lights went dark and we were running on stage to bow after The Impulse Wants Company. Throughout the ballet the energy on stage was incredible. Everyone was like one. The focus was intense. Each dancer was in the moment. It was an amazing feeling to be on stage with the entire group of dancers each giving 150%. This energy was matched by the audience. They seemed to be very into our performance.

We bowed a number of times. Then the dancers scrambled off the stage and downstairs to our dressing rooms to quickly change our hair, costume, and shoes. After a quick refreshing of my makeup, and a new midriff shirt and shorts, I grabbed an Altoid and headed to the stage.

The quick intermission was great because we had just enough time to change our clothes and freshen up but not enough time to get cold (staying warm is key to a great performance). I immediately reviewed my steps to Epistasis. Within minutes "places" was called. The lights went dark, and we were off!

Although I am an original dancer in Epistasis, this year I was also doing the central pas de deux in addition to my original parts in the ballet. My nerves were heightened for sure. The ballet calls for great stamina for all the dancers. I just wanted to dance well for myself and for Troy. We begin the ballet with a high paced energetic opening number which leads in to a series of solos (6 dancers have a solo). Immediately following my solo the central pas de deux begins as Taylor and I meet face to face. We locked eyes and I knew we were connected. Like The Impulse Wants Company, each dancer was living in the moment, intently focused, and filled with intense energy.

Before long Taylor and I were embracing in our final slow dance sequence. This is my favorite part of the ballet. The music matched with Troy's movement is quite touching. We had made it through Epistasis! All drenched in sweat, we were thrilled with the performance.

As the lights came up, BalletCollective bowed. The dancers and musicians love seeing the enthusiastic crowd. I felt accomplished and so did BalletCollective. Thank you to all of you who supported us!

22/9

Thursday marked a new record for BalletCollective: the completion of a 22 minute ballet in just 9 days! 

In preparation for our August premiere at the Joyce Theater, 

we moved into the Ailey Theater (just for two hours) for an informal workshop performance. Troy and Brandon arrived at the theater early in the morning to "tech" through  (a technical rehearsal to run through the lighting cues) the ballet's lights. Ellis, the musicians, and the dancers arrived at noon to "walk" through (a quick rehearsal to acclimate in the new dimensions) the ballet in the Ailey space. 

For BalletCollective,

this was the start of many "firsts." "Firsts" is a word my finance and I use for the first time we experience something new together. With Brandon manning the lighting board, Ellis conducting the music, and Troy running the rehearsal, we dancers danced the ballet, The Impulse Wants Company, section by section. This was the first time that all elements of this collaboration were together performing our individual parts live. Previously the dancers were rehearsing to an electronic track of the composition. 

Shortly after the rehearsal began, 

BalletCollective's patrons, friends and family, trickled in for the workshop showing. As they arrived, Cynthia Zarin (the poet who wrote the libretto for The Impulse Wants Company) gave them some information about the work including an excerpt of the poem. The audience got a sneak peak of the rehearsal process as we finished working out the kinks. 

Once all parts were in sync,

 Troy welcomed the audience, introduced his collaborative team, musicians, and dancers. The lights went dark and we were off. A second first for BalletCollective: a complete run-through of the ballet without stopping. We all remembered our steps, for the most part! It was a great chance for Troy to see the overall picture of the finished ballet, a rough glimpse of what it will look like in August at the Joyce. 

Photo: Archival film screen shot

After the ballet ended, 

the collaborative team, dancers and musicians had a chance mingle with our guests and see their reactions to the new work. It was an amazing feeling to see BalletCollective's vision realized. From here, we can take it further...