2014 Season Announcement

BalletCollective is back!

The Impulse Wants Company
Photo by Erin Baiano

After our successful season this past summer at the Joyce, BalletCollective is up and running again, gearing up for our 2014 New York Season to be held at NYU Skirball, October 29th and 30th. It is exciting to be back in the studio again working on new pieces for BalletCollective.

This year BalletCollective has 2 new dances planned in addition to last year's The Impulse Wants Company. The first new work is to feature the collaboration of director and choreographer Troy Schumacher, indie rock composer Ellis Ludwig-Leone and artist David Salle; the other new piece, titled  Dear and Blackbirds, will feature the second collaboration of Troy, Ellis, and writer Cynthia Zarin.

The Impulse Wants Company
Photo by Erin Baiano

The process of creation for Dear and Blackbirds is off and running. The poem is written and the music is mostly complete. The dance, a 10 minute pas de deux for Harrison Coll and me, is in the beginning stages. Troy began working with us one evening last week before a NYCB performance to get a sense and feel for the ballet and the direction it should take. Harrison, an energetic young lad, portrays just that in the piece. I am an older woman (as I am about 10 years older than Harrison, AHHH), annoyed at his youth but interested in his vitality. The piece starts out fast paced for Harrison and slow and steady for me. It has been fun and interesting working with Troy and Harrison on this pas de deux. Harrison and I have a very playful dynamic which seems to be perfect for this project. We are both open to ideas and feel quite comfortable working together (we should, considering Harrison was my first "Party Scene child" in the Nutcracker about ten years ago!). I am encouraged by our first three rehearsals and like what Troy has created so far.

Stay tuned for more about Dear and Blackbirds as the ballet progresses along with all the inside scoop on BalletCollective and its company!

BalletCollective in The Times

The moment BalletCollective had been waiting for... The New York Times Review!

Whether you're a dancer, musician, choreographer, librettist, composer or director, you are all conscious of the reviews about the performances. Monday, August 19th marked a "first" for BalletCollective: our first review by the toughest critic for the New York Times - Alastair Macaulay. 

Stepping out on stage for the first time opening night at the Joyce Theater, one of my thoughts was... "I hope they like us!" Being theinsider, I was aware that many critics were to attend BalletCollective's performances. Who would write reviews and who wouldn't was up in the air. 

Days after the performances, Troy and I were still on such a high. It was an exhilarating experience. We kept thinking what great performances we showed. Yet, what we think isn't everything. What the critics think is important too. 

Then The New York Times review by Alastair was published. It is an incredible review. Alastair comments on all art forms of the collaboration (naming the dancers and collective members), and raves about Troy and BalletCollective. He calls Troy's ability as a choreographer, "a completely fresh use of familiar ballet language. And it’s the firmest sign, among many in the two works shown by Mr. Schumacher and BalletCollective last week at the Joyce Theater, that his is an intriguing new dance voice."

Alastair acknowledges the way Troy allows the audience to see into the society he has created, and also talks of his refreshing style: "He's addressing central questions about the genre of ballet — music, gender, body language, academic vocabulary — and without strain. His answers look both direct and unforced, experimental and refreshing."

He concludes by saying that BalletCollective and Troy Schumacher are the Joyce's "Balletv6.0's real discoveries"! 

If you missed The Times article, you can find it here!

Hearing the audience roar at the end of each performance was special. Reading the review in The Times was the icing on the cake! Cheers to many more years for Troy and BalletCollective! We look forward to the future and our next performance.

The Second Time Around

Photo: Erin Baiano

Thursday was BalletCollective's second performance at the Joyce Theater. It marked a "first" for BalletCollective: our first two performance season. BalletCollective has never had two consecutive performances. Usually we have a one night only performance so having the second night was a special treat for the company. The dancers and musicians had a second chance to perform these ballets, and the collaborators another look at their creation, while Troy had an opportunity to take a second look at his company.

Since we had performed Wednesday night and celebrated 'til the early hours, Thursday was scheduled as a late start day. Even though I was up late celebrating, I rallied to take Willy Burmann's 10:30 am class at Steps on Broadway. Although Troy was offering company class later in the day, I knew my body needed to get moving early. Each dancer is different. My body tends to function better if I take an early ballet class, then rehearse and perform in the evening. However some dancers prefer to sleep in, rest 'til warmup class a few hours before the show.

After Willy's class I grabbed a quick lunch and took a cat nap just in time to head to the theater for Troy's company class. Troy taught class on the stage. I took again, even though I had already taken ballet class. For me I was hopeful that it would work for my body as a rehearsal does. I don't like to perform without having rehearsed that day. My muscles perform better when they are tired and have been pushed earlier that day. After our warmup Troy opened the time up for anyone wanting to rehearse. A few of us wanted to get a puff in (this means getting your heart rate up and getting out of breath) as it helps with stamina. If you have been puffed during the day in rehearsal the performance usually feels easier. I ran the first movement of Epistasis, Fireflies, with some of the dancers. Fireflies calls for a lot of energy and involves fast paced jumps. Running only the first movement allowed me to get that needed puff without completely exhausting my legs.

Warm and my blood flowing, I banged my pointe shoes on a brick wall (banging the pointe shoes helps to minimize the sound of the shoe on the stage. It is never good to hear dancers running or clunking around.) and headed downstairs to begin my pre-show make up and hair.

Soon I was ready and in the studio warming up. My third barre of the day. My legs were finally starting to feel like my legs: a bit of tiredness mixed with adrenaline. I did my crunches, got a hug and "Merde" from Troy, and off to the dressing room I went. Moments later, an Altoid in my mouth, I was beginning my traditional on-stage warmup as the audience filled up.

Thursday I felt strange. I was excited, relaxed, and tired. I wasn't sure how the performance was going to go. Some nights you have a feeling that the show will go one way or the next, but that night I was unsure. The lights went dark and we were on stage.

The Impulse Wants Company was in motion. Kaitlyn nailed her first solo. From that moment on I knew the show was going to be a good one. Twenty minutes later all the dancers but Taylor were off stage in the wings. We had just finished our last steps. While we watched Taylor execute his intense solo, some dancers were happy with their performance and some had complaints. It is interesting to do a ballet with live music two days in a row. Musically things sound different, there is a different energy amongst the dancers on stage and with the music. Therefore it is normal to have a different experience each night you do a ballet. For me Impulse went better Thursday night. No matter the difference in tempo or energy, I felt in the zone.

We bowed and ran to the dressing room to change modes into Epistasis.  My quick change (costume and pointe shoes), hair change and make up refreshening happened much smoother than Wednesday. I was up and practicing on stage within minutes. I tried a turn from my pas de deux that didn't go as well as I would have liked on Wednesday. Then it was "places".

Epistasis was happening. Right before I made my first entrance I remember thinking, "enjoy every minute, you never know when you will get to dance this again." As I am an original member of BalletCollective and Epistasis, this ballet is very special to me. And to be given the opportunity to dance the central pas de deux, something I have watched and admired for years, was a dream. Each section of Epistasis I relished in the moment. Dancing my solo in silence and the pas de deux with Taylor were amazing. I remember thinking how quiet the house was when I was making my way through my solo. Then smacking my foot on the ground at Taylor was the beginning of the end. After meeting eye to eye we parted to our respective sides of the stage. The music began and we were connected. The musical cues met us at the appropriate times and we were in control of our time together. As we joined in a series of crouching steps, Taylor whispered to me " here we go!" The "break down" music  (the fast break and transition into the coda of the pas de deux) jolts and then moments later we were breathing hard and in the end pose. We slightly catch our breath and the ballet continues. For a quick moment Taylor and I find ourselves off stage about to enter for the last time. It was a last push till the end. We looked at each other, high fifed and said "We got this!"

Photo: Erin Baiano

One last look and Taylor and I were slow dancing in an embrace as the lights went dark. I will remember this moment forever. Together BalletCollective had made it. All seven dancers were joined in that instant together. The bond and the memories had been made. We bowed together as a group, and each separately. It was an incredible feeling to be applauded and recognized alone, each of us, for our performance and hard work as dancers. I want to feel that again!

BalletCollective had made its mark. We are officially on the ballet map. Thank you to our supporters and all who were there at the Joyce.

That night BalletCollective was excited. Troy was thrilled and encouraged for the future of his company and mission to create collaborative work. The dancers: happy, relieved and hungry. We as a group celebrated at BareBurger. We cheered to the future (and for a fair review from the critics)!

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!

Joyce Performances

BalletCollective's debut season at the Joyce this Wednesday and Thursday was an incredible experience. It was an amazing opportunity for the artists to share their work with a diverse and enthusiastic audience. Both nights the house was sold out with people lined up around the block waiting in hope of scoring one of the few remaining seats. Such a great feeling!

Dancing the premiere of The Impulse Wants Company and the reworked Epistasis at the Joyce was memorable. I can't wait to tell you all about it! But I am getting on a plane to visit my family in Tennessee where I will catch up on some much needed 
R & R. 

The full run down on BalletCollective's first season at the Joyce is coming soon, watch for it!

In the meantime, here are some captured images of both Epistasis and The Impulse Wants Company. Enjoy!

Photos by Erin Baiano

Four Days Until Showtime!

Today marks the half way point in BalletCollective’s eight day rehearsal period leading up to Wednesday, our opening night.

As our Joyce debut is fast approaching, we have been rehearsing six hours daily. Like BalletCollective’s first rehearsal period, where we accomplished a 22 minute ballet - The Impulse Wants Company - in just 9 days, this time we managed to put back together The Impulse Wants Company (meaning we left the ballet for a few weeks so now when we are back again, the dancers and other artists have to remember the choreography and get the piece looking whole again) and re-work Epistasis, an older work, (the second ballet on the program) in just four days. 

Troy and the dancers did their homework and certainly came prepared, but this rehearsal period is functioning slightly differently than our previous rehearsal time. We have a ballet mistress, Glenn Keenan, to help the dancers and to assist Troy. Glenn, a former New York City Ballet dancer and now a ballet mistress for the company, is trained in this field. Having her being in the studio has allowed Troy to focus on wearing one hat: choreographer, rather than trying to fill two. As Glenn becomes more acquainted with the ballets and Troy’s choreographic style, the ballets are looking sharper. 

Glenn’s previous experience as a ballet mistress has enabled her to join BalletCollective’s process seamlessly. I must say that having Glenn in the studio makes everyone's job much easier. Before we had a ballet mistress, I tried to help Troy out by wearing both the dancer and ballet mistress hats. It was difficult to dance and try to focus on everyone else. Having the extra pair of eyes in the studio allows me to focus on myself and my dancing. At the same time we as a whole look better and have a clearer picture of what the steps are supposed to be, and on what counts exactly to move. Glenn is a life saver!

Photo: Troy Schumacher

Photo: Troy Schumacher

Tonight, Troy and I are celebrating (as I'm sure the dancers are too in their own way) with dinner and drinks at Cafe Frida. Yet not celebrating too hard, we still have a lot of work to do before Wednesday! 

Next up... continue cleaning, tweaking and running both ballets in sequential order to build stamina for the big night!

Cram Time

Being the insider, I am privy to BalletCollective's inside scoop. And at this point, I know that come Monday we are going to be in full swing, plowing forward, in an effort to put on the best show possible come August 14th and 15th. BalletCollective's performances are not just another gig, but an important opportunity for BalletCollective to leave its stamp on the ballet world!

Just about five weeks ago, BalletCollective wrapped its first rehearsal period of our 2013 season. In preparation for our August debut at the Joyce, this week is cram time.

Since our rehearsal period, this week has been my first opportunity to focus on both learning/relearning and executing my steps to both ballets: Epistasis and The Impulse Wants Company. In an effort to come in prepared on our first day of rehearsals (knowing we only have 8 days of rehearsal), I have spent the last week doing my homework: watching videos of the choreography and at times rehearsing in my living room to make sure the steps are not only in my brain but also in my body/muscle memory. (This is very reminiscent of last year's rehearsals in our living room just after Hurricane Sandy! To read that story click here.) Today I put my brain to the test.  

Photo: Troy Schumacher

After taking ballet class at Steps on Broadway I headed straight to the studio to get down to work. A few other BalletCollective dancers, who happen to be in town, joined the rehearsal. We went section by section, watching and re-watching (on the iPad), dancing and dancing some more, until we remembered and could execute the steps properly. Doing my homework before I entered the studio helped greatly. Although I have a lot more to improve upon, I am off to a running start!

Tomorrow is day two!

While I'm doing my homework, you do yours too! For ticket information click here. I look forward to seeing you all at the Joyce for BalletCollective's debut August 14th and 15th!

Ballet v6.0

BalletCollective's debut at the Joyce Theater is part of a festival called Ballet v6.0. Ballet V6.0 is a first time for the Joyce. "The Joyce has designed this ballet festival to recognize the many dancers and choreographers who are creating work outside the traditional large company milieu and are forming their own small companies. Featured are companies from across the US, whose work represents a range of ballet styles, from neo classical to contemporary." Ballet v6.0 is an opportunity for new companies like BalletCollective to make their mark on today's ballet world. 

Haglund's Heel, a dance blog I frequent often, is an honest, well written, and entertaining blog. Haglund's Heel aims to "offer the best ballet play by play coverage, color commentary , and expert analysis". The posts, mostly reviews of dance performances around New York City, offer unmasked opinion, humor, wit and love. At the end of each review Haglund, whose identity is a secret, awards a key star/artist with a different high heeled shoe. Most shoes are extreme and fancy in their design and relate to the ballet or dancer he is citing. The shoe is always the first part I read. I love seeing his pairing of the outstanding dancer with the high heel. Not only is it entertaining but it gives the reader a chance to quickly understand the standout (for better or for worse). I hope BalletCollective or myself is awarded a shoe one day!

But just yesterday, Haglund's Heel gave a shout out to Ballet v6.0 and BalletCollective. In a post titled "Green out of the Blue", Haglund discussed the Joyce's upcoming festival. In his interesting opening to the post, Haglund explained his recent receipt of a check in the mail for a few extra reimbursement bucks from Aetna. After his catchy opening, he continues to explain that he put this money to good use by purchasing tickets to Ballet v6.0. Haglund mentions two companies presenting works there: BalletCollective and Jessica Lang Dance. (Thank you Haglund's Heel for the shout out!) Although Haglund does not say specifically which of the six companies he will see, as the insider, I hope he attends BalletCollective's run.  

Haglund's post, "Green out of the Blue", is a great way to spread the word about the Joyce's Ballet v6.0! Ballet Collective is very appreciative for the mention and continued support! Look forward to seeing you Haglund at  BalletCollective's Joyce debut!

The shoe pictured above, Giuseppe Zanotti Foiled Zip High Top, is the shoe I award Haglund! 

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...

Meet the Artist Monday: Brandon Baker

Photo: Kendra Samson

Brandon Baker is BalletCollective's resident lighting designer. Baker's lighting for dance has been commissioned by NYCB, Limón Dance Company, Havana Ballet (Cuba), Guggenheim Bilbao (Spain), Edinburgh Festival (Scotland), The Joyce Theater, New York Choreographic Institute and the Los Angeles Music Center.  

Here is my Q and A with Brandon:

Me: What does Balletcollective mean to you?

Brandon: The collective is an extremely creative and intimate opportunity to collaborate with incredible dancers, choreographers, composers and visual artists.

What do you enjoy about working with Troy?

I love that the work we create continues to be developed over time. Especially with our upcoming season at the Joyce. It’s exciting to work with someone that’s not afraid of change and equally inspired to try something new with an existing work.

How do you go about designing the lighting for a ballet?

Lighting Design for me always begins with the music. The music helps me understand the tone and energy of a ballet. After listening, I join the rehearsal process and speak with the choreographer about the overall structure and concept of a ballet. During the rehearsal process I begin looking for visual clues on how a stage space is being used (Is the choreography symmetrical? Is this a piece about individuals or ensemble? Where are the dancers coming from and is there a strong connection to music?) These are a few details that help me find a “visual voice” for a ballet and I begin taking notes on color, shape, intensity, direction, rhythm and musical timing. The shape of the design continues on paper as I begin to sketch out my ideas, create a light plot, pick color and eventually create lighting cues in the performance space. 

What inspires you?  

I am truly inspired by artists that want to make a difference in the work we create together. I like to surround myself and collaborate with honest, positive people that continue to surprise me. 

What's your favorite way to pass time?

I spend a lot of time at the cinema and museums all over the city. I really love having a “neighborhood escape” from time to time.  

What are you reading?

“Flappers & Philosophers” by F.Scott Fitzgerald. I’ve always been fascinated by the 1920’s jazz era. Also reading “Catching Fire” (guilty pleasure). 

What's the most recent song/album you've downloaded?

The new album by Har Mar Superstar “Bye Bye 17” is pretty wonderful.

If you could die and come back as an animal, what would you be?

Sea turtle…?

Your greatest influence?

I am always inspired by so many artists and individuals. I’ve been very fortunate to find many mentors in life post-college that continue to inspire me everyday. My family, friendships, collaborators and opportunities to travel all over the world. 

Anything else you'd like people to know about you...

Before I began my career as a “lighting designer” I spent eight years recording music and playing bass guitar in bands all over Los Angeles. It all feels like another past life, but my love and passion for music continues to be a major part of the work I create today. 

This year's new work will be Brandon's fourth ballet with BalletCollective. He is so creative with his design and always takes into consideration how the lights will affect the dancers. If the lights are too bright and are angled on level with our eyes, it makes dancing very difficult. Brandon tries to avoid this blinding effect and will make adjustments when necessary.  It has been great working with Brandon!

Day 1: Dany Studios

Monday was BalletCollective's first day of rehearsals for The Impulse Wants Company (tentative title, to be premiered this August at the Joyce Theater). At the start of rehearsals in DANY studios, Troy, poet Cynthia Zarin, composer Ellis Ludwig-Leone, and lighting designer Brandon Baker gathered the dancers together and introduced themselves, discussing their roles in the creation of the piece, their inspirations and ideas behind the new work. 

There are seven characters. I use the term 'characters' loosely, as they are all based on those of us in the cast as people (to a certain extent) and we won't be 'acting'. Characters include: 

• a peaceful, nostalgic woman
• vibrant boy
• three chatty girls
• a married couple

I am one of the three girls.

Photo: Ellis Ludwig-Leone

Troy outlined the ballet's premise, "Our ballet focuses on you as a group as you arrive and spend a day in a place of heightened interaction. Here everything is magnified and you all are more exposed to one another."  

He then said that we would start with the second movement. And it went like this:

Troy began the rehearsal by working with Kaitlyn and David (peaceful woman and vibrant boy).  Not before long he called on the three sassy girls (Lauren, Meagan, and me). We enter with a jumping passage, very reminiscent of dolphins frolicking in the ocean. Soon we were all sliding like Shamu! It was a good time! Moments later the couple (Taylor and Harrison) enter and we as a group learn a complicated, but exciting combination of steps. I am excited to see, dance and learn more as the collective's concept turns into movement.  

Looking Back, Remembering Hurricane Sandy

As we are gearing up for BalletCollective’s rehearsal period beginning June 17th, in preparation for our Joyce debut, I can’t help but remember what it was like putting a performance on in the immediate aftermath of Hurricane Sandy. Our performance was scheduled for November 2, 2012, but our rehearsals were scheduled to begin Monday, October 29th, one of the worst days of the storm.As most of the New Jersey to New England coast was underwater, without power and filled with devastation, three of BalletCollective’s dancers were trapped in Michigan on a NYCB MOVES tour. Due to the storm's trajectory, their flights were canceled (which were originally scheduled to get them back to the city by Sunday, just in time). City Ballet then made arrangements for a bus to drive the dancers back. They stopped at a hotel in Poughkeepsie, New York to sleep for the night instead of driving through into the wee hours of the night, despite the dancers' pleas. Unfortunately for them, the hotel lost power and the dancers were again stranded, this time without hot water or electricity. Tuesday morning, the dancers boarded the bus hoping to have a smooth ride into the city. Traffic plagued them. What was supposed to be a 2 hour drive turned into 4 hours. Meanwhile, Troy was beginning to think he might need to cancel the performance, as almost everything in the city was closed. Strike one. We lost our rental space for Monday and Tuesday. Strike two. We could not get in touch with the theater to see if they were even planning on opening for us. Strike three. We also had only four of our 7 dancers in the city! Monday was a loss. No space, and No dancers. Panic was beginning to set in. Tuesday, still no space and no dancers. Getting crafty and as a last resort, Troy and I moved all our furniture out of the living room into the hall way and created a space for the dancers in the city to stretch, warm up, and work through the choreography. Troy knew we could not lose Tuesday completely. 

Photo: Troy Schumacher

It’s now Tuesday at 2 pm. Troy gets a phone call from one of the dancers on the bus. He's excited to learn that they had arrived safely to the city. He informed them that we were rehearsing in our apartment, as a last resort, but that they need NOT be there. Troy insisted that they get some rest, in hopes of being able to work with them on Wednesday. The three dancers so graciously said they wanted to come review their steps. 

Photo: Troy Schumacher

By 3 pm we had all seven of BalletCollective’s dancers in our living room going over the entire program. It was an amazing moment of commitment and strength. A big boost of confidence for Troy. In the end we did not lose Tuesday completely and the theater ended up opening on Wednesday. We crammed, like cramming for an exam, and put both ballets back together. The theater staff rallied to prepare the theater. Thursday was both our first day in the theater and our dress rehearsal too. Friday came, we were ready, the house was full, and BalletCollective put on a great, unforgettable performance!

Product Spotlight: ElectroMIX

As dancers, we sweat. A lot. We’re constantly trying to replenish our bodies with the water and electrolytes we need to keep us healthy.  There’s not one product that solves all dancer’s pains — i.e., muscle spasms, soreness, dehydration, but I’m always on the prowl and trying new products. When Troy brought home a box of ElectroMIX, we gave it a try.  As per the label, “ElectroMIX is a water mineralizer and dietary supplement that contains nutritionally balanced essential electrolytes: Potassium, Magnesium, Calcium, Manganese, plus Chromium.” Like Emergen-c, which is made by the same company, you just dissolve it in water.  Basically, it’s loaded with good stuff AND it’s sugar free!  

Most products that are super healthy taste like cardboard, but ElectroMIX is different.  After dissolving in a liter of water, you get a subtle lemon-lime taste that’s neither offensive nor overbearing, like many sports drinks.  

I think the key mineral is magnesium. Dancers’ bodies need tons of it, but we can’t always take an epsom bath after a show. Our special trick was discovered by accident: ElectroMIX as recoveryMIX. One night after a triple bill at NYCB (meaning I had all three ballets on the program), I knew I needed to drink an ElectroMix but didn’t want a liter of water right before bed. So, we wondered what would happen if I drank it as a shot. The results were amazing. Side effects: recovered muscles and a good night’s sleep! We always keep an extra box in the cupboard. 

Dissecting the Puzzle/The Impulse Wants Company

Everything is new! From the poetry, to the music, to the dance, to the lighting, to the design, it’s all created in true collaboration together, brand new. The heartbeat of BalletCollective is its process. 

These artists come together like cooks in a restaurant. They come up with the main menu starting with one element. Maybe a particular protein, Kobe beef, is what sets the dish’s course or maybe reindeer moss sets the tone. Like cooking, BalletCollective’s process begins with one element inspiring its actions. 

From Troy: “Artists are each fluent in their own language. The way a choreographer describes movement is alien to the way a composer describes music.  In this case, we are both speaking English, but the same words can have drastically different meanings! The key to true collaboration is finding a common language which all artists involved can understand.  But even better than a common language is the beautifully nuanced language of the poet.”

The current work in progress digests a poem by Cynthia Zarin. Yet the creation of her poetry, at its earliest phase, was inspired by several discussions with her fellow collaborators: choreographer, Troy and composer, Ellis Ludwig-Leone. Working together, these three artists meet (usually at Cynthia’s NYC home after everyone has returned from their day jobs) and gather ideas. They encourage each other to think outside of their individual comfort zones. After 10 hours of conceptual conversations and the decision to use 7 dancers, Cynthia, with Troy and Ellis’s input, created the first puzzle piece to building this new work, the poem. 

Using Cynthia’s poem as a working draft, Ellis and Troy, with Cynthia, dissect her work to establish a working structure of the ballet, its mood arc, the length of the piece, the musical arrangement.  Cynthia took all of this and put it into another draft of the poem.This is the next step in BalletCollective’s puzzle. Once the logistics were in place but open to evolving, Ellis began composing the score. Troy began choreographing to his sketches. But, not alone. As with the creation of the poem, the musical score is created with the input of the collective members and so is the choreography.  With the structure in place, lighting designer Brandon Baker begins to influence the overall look of the piece, and begins discussing the space that the work takes place in.  However far away from each artist’s speciality, Troy, Ellis, Cynthia, and Brandon are challenged to bring their strengths/weaknesses to the table in efforts to push the creation to its ultimate best. 

Their initial conversations began in November; now the music is just about finished, the poem is getting to its final drafts, and little snippets are choreographed. The piece will be 23 minutes long and have a unique structure. Since I’m the insider, I do get privileged knowledge of their collaboration from time to time. I’ve heard a few sections of the music, seen and heard parts of the poem, and watched Troy planning the ballet. Here is a clip of him in the studio, working on a solo for Kaitlyn Gilliland.

BalletCollective will premiere The Impulse Wants Company August 14th and 15th, 2013 at the Joyce Theater. Tickets can be purchased here. Hope to see you there!