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!

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!

Meet the Artist Monday: Taylor Stanley

Photo: Troy Schumacher

Taylor Stanley first danced with BallectCollective in 2011 for our NYC debut. With his powerful force imbuing every moment, Taylor's distinct quality makes its mark and inspires. 

Here is my Q & A with Taylor:

Me: What does BalletCollective mean to you?

Taylor: BalletCollective has always allowed a strong sense of unity and closeness to form. Not only do the dancers create a stronger bond, but the musicians, the writers, the lighting and costume designers, everyone contributes in the most unique way! BalletCollective opens my eyes and gives me access into other artists' worlds from whom I receive the most inspiration.

What do you enjoy about working with Troy?

Troy definitely challenges me to step out of my comfort zone beyond the dancing and the movement. There is a personality, a very specific disposition that every character is given, and is required to uphold. I think what's most thrilling for me is the journey towards becoming that character in all of its entirety. 

After a hard day of dancing, what is your favorite meal?

I will never refuse Thai food, or a big burger with fries!

Your most memorable onstage moment?

My most memorable moment onstage would have to be in George Balanchine's Square Dance. There was a real sense of community onstage between the dancers that I loved being a part of. I felt the most joy dancing this ballet.

What's your favorite way to pass time?

I love coming home to my dog, Theo, and taking him on long walks through the park. Sadly, also, I love to clean. 

What are you reading?

As much of a procrastinator as I am about books, I most recently have been reading Malcolm Gladwell's What The Dog Saw. From time to time, I'll revisit a Harry Potter book.  

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

I am in love with this new British artist, Laura Mvula. Her album is called "Sing to the Moon". Check her out!!!!!

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

The birds of paradise really fascinate me. They are extremely beautiful, and mysterious! So maybe one of those?

Your greatest influence?

My dance studio growing up I think has made a huge impact on my life. My teachers taught from their hearts, and paid close attention to our passion for dance, as well as our bonds with other friends and teachers. They became like a second family to me, and the studio a second home. I could not thank them enough for encouraging me to follow my dreams.  

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

I have a new found love for San Francisco, California :)

Photo: Erin Baiano

Taylor and I have danced (and gotten promoted to soloist) together at City Ballet but never as closely as we have in BalletCollective. Through BalletCollective we have built an amazing relationship and partnership. I adore Taylor. I especially love the chemistry and intensity we have when performing together. Taylor is the first partner that I feel completely connected to when onstage. We are in sync and always living in the moment. Those moments I will never forget!     

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...