Random Dancing Challenge

I know I have been rather horrible about blogging this past week.  I promise exciting things are in store including our FOSSE special, ZUMBA with Danielle, a HIPHOP section with Matt, and a very special Yoga with Jean-Paul entry!  Quality not quantity.

In the mean time, I challenge everyone who reads this blog to put on music, your favorite music, and dance wildly and crazily in your living room for the entire duration of the song.  (For those not used to random dancing - I would strongly suggest choosing a selection SHORTER than Ravel's Bolero)

People forget that dance is supposed to be FUN and is about using your body in crazy exotic ways to express an emotion!  I was recently reminded of this when my roommate put on the final movement of Sibelius' violin concerto and we both began wildly dancing around the apartment.   Yes, I know this makes us the world's biggest nerds, but it was fun.  My roommate, who does not dance (ever), said you HAVE to blog about this.  It is so much fun and is inspiring me to take dance class now.  So there you have it - random dancing the MOST FUN work out you can have - and will inspire you to take class - and learn about your body's range of motion!

ALSO - after Sibelius, continuing with our nerdiest household ever trend,  I put on Verdi's "Anvil Chorus" from IL TROVATORE, and tried to do push-ups.  You should know, I have the weakest most anorexic arms on the planet and usually just crumble on the floor or feign an injury during the "push-up/plank" section of any pilates or dance class.  But - when I put on a piece of music that I truly loved and got me all riled up, I felt as though I could do anything, and did my push-ups for the entire chorus.  They were horrible push-ups, my nose definitely did NOT touch the floor, my elbows barely bent, and despite my best efforts, my core was not engaged, but that's not the point.  The point is I was at least TRYING, something I wasn't willing to do sans awesome music.  The next day in pilates class, I actually held my plank position for the full minute and did all the push-ups to the best of my ability.  The Anvil Chorus was definitely going through my head the entire time.  So if you have a challenging dance step or fitness exercise you dread, I high urge you to put on most motivating music and just GO FOR IT!

That is my challenge to you!  Dance randomly to your favorite music, and do some push-ups!

I leave you some "official" RANDOM DANCING from Nickelodeon's "iCarly."  (Yes - to ADD to my dorkdom, I do in fact watch iCarly.  And so should you - those kids know how to randomly dance!)

Tips for picking up choreography in an audition

I've gotten a lot of questions about how to pick up choreography quickly in an audition, and feel that I need to address the issue.  I've been avoiding it because, all truths be told, I am HORRIBLE at picking up choreography quickly.   Teachers and choreographers are always yelling at me, saying it is such a shame that I have such great technique but am so slow at picking up choreography.  It is my *hope* that I will be able to interview some teachers, choreographers, and dancers who are AWESOME at picking up choreography and share their advice with you.  Until then, I thought I would share some tips that have helped me on my long climb towards being a quick choreography picker-up-er.

The first thing is, I think it is important that you know how YOU learn.  Every person is completely different.  Most of the dancers I observe learn by doing the choreography full-out with the teacher, as the teacher is doing it.  It then gets locked into their muscles memory, and they are able do the choreography brilliantly the first time with the music.  If this is how your brain works, that is amazing and you are a very lucky duck.  My advice would be get up close where you can see the teacher/choreographer, and mimic what they do as they do it, get it ingrained in your muscles memory, and be fierce.

This is NOT how my brain works.  My brain seems to work two different ways - depending on the choreography.

The first way my brain works, is to SEE the choreography so I know what it looks like, and then try and make my body do it.  This means, I do NOT do the choreography with the teacher the first time through.  It means I stand to the side and watch, almost like an audience member.  After I see what the final product looks like, I can process the steps in my brain, and tell my body to do them.  I will then "mark" the choreography (not do it full out), and then each time we go over it, commit to the steps more and more until I reach the final product.  This is the *best* way for *me* to learn.   I have also discovered that choreographers HATE this.  I have been told I look "dead" while the choreographer is teaching, and accused of not paying attention, not caring, and daydreaming.  So if you do this, make sure you look alive, alert, and enthusiastic whilst doing so.

The second way my brain works is by creating stories.  I name the different sections in my head and give it motivation and create and abstract thought pattern for the choreography.  There can be the "slow section," "drunk section," "skippy section," "section where I seduce person X," "section where I reject person X," "section where I change my mind and tease person X."  (So in my head I might think, I'm tired, so I take a drink, then I get hyper, oh hot guy!,  oh come hither hot guy, oh never mind you actually aren't that cool, or maybe you are.")  Since my memory is really good with WORDS and STORIES, it helps if I give WORDS and STORIES to the dance steps.

I took a master class with Ann Reinking, who told the everyone to figure out which part of choreography we were WEAKEST on.  Then, during our breaks, while we were waiting for our number to be called, etc..., just go over that specific bit of choreography in our heads.  I have found that is incredible helpful if there truly is one spot where you are constantly getting tripped up.

I have also found concentrating solely on my feet is helpful.  For some reason, I have a really hard time "walking" in choreography.  Give me triple pirouettes into a layout, let me kick my face, but don't ask me to walk!  So really giving each steps a lot of attention and weight helps a lot.  Knowing there are 4 steps instead of 3, and you start on your right and end on your left, is remarkably helpful.  So - think about your feet!  They are important.  Your arms will follow.

A lot of choreographers are also really impressed if you pay attention to where you "focus" is - or which way your head is facing/your eyes are looking.  It's a minor detail that may not help you learn the choreography per se, but will impress the choreographer!

Another option, which I take advantage of as often as possible, it to learn the choreography ahead of time.  Several shows such as A CHORUS LINE, have set choreography and a set audition that will pretty much be the same wherever it is presented.  Broadway shows usually have set audition choreography as well.  If I know someone who knows the choreography to a show, I will often write them a very nice e-mail asking if they would be willing to teach me the choreography if I rent a studio and offer to pay them.  Playbill.com often advertises (in their "job listings" section)  special workshops where representatives from a show will teach the choreography and work with dancers on perfecting it.  A company that offers several good choreography learning workshops is "Stage Door Connections."     Keep checking their website for workshops and dance classes being offered.  I took a "Wicked" audition class there and found it tremendously helpful.

Other than that, the best advice I can give is to take class, and lots of it!  And switch up the classes you take.  I find I will often get into ruts where I take the same class every day, so I recognize and am comfortable with that specific teacher's choreography.  When I take a new class or go to an audition with a different choreographer, I feel completely lost.  So, it is important to take a wide variety of classes and styles to always keeps yourself on your toes!  The more styles, steps, and choreography you already know, the easier it will be to pick up choreography in and audition.

Liberated Movement

I have a wonderful friend named Alena who told me about a dance studio I had never even heard about!  It's called LIBERATED MOVEMENT.  I have never been - but Alena says:  "They have lots of beginner-friendly classes and all classes are pay-what-you-can (with a $5 suggested donation).  I have been to a couple of classes and have enjoyed them a lot!"


Based on their website they appear to be like a dance version of Yoga to the People!  (Yoga to the People's mission statement:  Yoga to the People is a unique yoga studio with the goal of recapturing what we consider to be the essence of yoga… simply put, yoga made available to everyone.)


At any rate - Liberated Movement's schedule looks as though it offers some really interesting classes that aren't offered elsewhere - such as West African, GLEE Themed, super stretch, and Masala Bhangra Indian Dance, as well a more traditional offerings such as theatre, contemporary, and hip-hop.  I'm definitely going to be checking it out!  It seems like a great way to be able to afford class here and there without being on a full work study program.  


Also, I was glancing at the class offerings and I realized I have a friend who is teaching one of the theatre classes - so if you see a class taught by Avi Asuleen (I believe she teaches every other Sunday 1-2p.m. - her next class is January 30th) - she is a great gal and a wonderful theatre dancer!  (And for anyone who needs audition advice - she is the gal!  She can AUDITION!)  Her class is described:


A great class for actors, singers who move, or dancers looking to brush up on their acting! This class will begin with a high energy show tune warm up that will stretch, align, and tone the body. We will then move across the floor, working our kicks, turns, and jumps, and will culminate each week with an original center combination. Combinations will range stylistically from traditional theater through Fosse and Bennett, and will always help you dance with more confidence and style! Open to dancers of any level, although some previous dance experience is suggested but not required.  Please wear comfortable clothes, and character shoes, jazz shoes, or jazz sneakers if you have them. Otherwise, bring a pair of socks!




THANK YOU ALENA for the great dance and fitness tip!  This looks like a fabulous comfortable setting to get your movement on!:)

Breathing and Abdominal Strength!

During my Friday night pilates class, it occurred to me that several pilates exercises would also make fabulous breathing exercises for singers!  Even better, while improving my breath support for singing, I can also help get my abs bathing suit ready!  Wahoo!  Two for one!  I would like to share a few pilates breathing exercises with you.

If you are feeling particularly creative, you can incorporate more of your singing exercises into the breathing exercises.  For example, on the exhales sing notes, trill your lips, do an "open mouth hum" (also known as singing "hungggggg") or practice a section of an aria.  Have fun!  

The first exercise is the Double Leg Stretch.  To make it easier, extend your legs straight up to the sky.  To make it more challenging, extend your legs to 70 degrees, 30 degrees, or even two inches above the ground!  

The second exercise is the Roll Up.  No not the fruit roll up!  The abdominal roll up!  Make sure if the full roll up is too challenging that you watch the second video for the HALF roll up!:)

The last breathing exercise is called (morbidly) The Saw.  If you need to make it a little easier, you can bend your knees OR sit on a slightly elevated object such as a pillow, block, or folded mat.  If you are feeling extremely bendy and flexible, try increasing the distance between your legs a little, but make sure you always keep BOTH HIPS anchored to the floor!

Enjoy breathing and increasing your abdominal strength!

GET EXERCISED!

Once upon a time, when I was directing shows not performing in them, I met a wonderful girl named Dina.  She played a magical talking orangutan in a very interesting (interesting can be taken many ways) outdoor one act play I directed.  Dina is a yogi and fully utilized all of her yogi moves to embody the physicality of an orangutan.  The physicality she was able to incorporate is what made the show.  Without her daily exercise routines, she wouldn't have had such a wealth of movements to tap into.  (She was doing handstand, it was amazing.)

At any rate, she has since moved to California, lucky state, and decided to help share her love of exercise with others.  She has a website called Get Exercised  where she posts yoga poses other other fitness tips you can do at home in a fun and interesting way!  Her goal is: 

Get Exercised began with my desire to teach anyone around the world with web access the most beneficial exercises I know while making it fun and entertaining to watch.

Until I am able to get my camera up and running and post new exercises and choreography ideas, I highly suggest checking out her website.  It's amazing!  If you are IN California, check out one of her classes!

SPOTLIGHT ON JOE! (Recommendations from an Adult Beginner)

My next spotlight is on my friend Joe.  I met Joe doing a production of FIDDLER ON THE ROOF with a wonderful company called The Village Light Opera.    He played an incredibly dashing and compassionate Fyedka.  He is a very talented musician excelling at voice and piano.  I can't wait until GLEE discovers his overabundant talent and casts him!    

I have so much admiration for him because he tackling dance full force as an adult beginner.  He has put physical fitness, movement, and dance as a top priority in his life.  So many adults get frustrated and give up.  Not Joe!  He makes a commitment and keeps it!  His movement is definitely paying off!  Recently, he was one of the top dancers (and singers!) in the House of Peers in The Village Light Opera's production of Gilbert and Sullivan's IOLANTHE.  He has been kind enough to share his experiences and favorite classes with this blog!  I hope everyone is as inspired as I am!

NOW INTRODUCING JOE!

Six months ago, I had never taken a Dance class in my life. Sure, I’d done a grapevine in Annie in High School and I’d done about ten thousand Jazz squares in other shows, but I’d never had a need or desire to take Dance beyond that. Six months ago also marked the time that I decided to get serious about pursuing Musical Theater performance, and I knew that meant the inevitable: time to start taking the Dance classes that I’d put off for years. I, like many, had no idea where to start, so I began by picking the brains of every dancer I knew.

Early in my search, I happened on the gem that is Roy Arias studios. Located at 43^rd and 8^th, they are part of the Times Square Art Center. The studios themselves are not the most aesthetically pleasing, but what they lack in facilities, they make up in excellent teachers and friendly students. I’ve never once felt looked-down on or out-of-place, as I have on occasion at the bigger studios. The classes are very affordable, at $14 for a single class or $13 per class if you buy the 10 class card. They also do a workstudy program like the one at Steps; workstudy students work in the office for a few hours per week in exchange for discounted classes.

New York is a wonderful place because there are so many studios and teachers. However, I found that it is often daunting to know where to start when faced with so many options. Here’s the secret I found: you don’t need to know. You just need to do SOMETHING. Have an open mind and be ready to step out of your comfort zone a little. Don’t worry about looking foolish or having the right clothing or shoes (refer to the earlier article if you have questions). Just jump into a beginner class anywhere. Some studios even offer classes at the “Basic” level which are designed for people who have no real dance experience.

Joe dancing in FIDDLER ON THE ROOF

Here are the classes that I take regularly, which you should definitely check out if you are new to the world of Dance:

Hitomi – Basic Slow Beginner Ballet

I love Hitomi. She is about 5 foot nothing and has the best sense of humor in the world. The Basic Slow Beginner class is great because she designs it for people, like me, who’ve had no dance training. She spends the bulk of the time on basic fundamentals, usually at the barre. She will end with a simple step across the floor.

7pm on Fridays at Roy Arias.

Shelley Frankel – Beginner Jazz

Shelley is great. She is friendly and helpful, but serious and will correct you when you’re wrong. She is demanding, yet affectionate. She spends the first half the class on warm-up, barre work, stretches, and isolations. The other half is dedicated to learning a Jazz combination she’s choreographed for that day. It is always challenging but approachable.

7:30pm on Wednesdays at Roy Arias. She offers the same class Mondays and Fridays during the afternoon.

Shelley Frankel – Body Conditioning

Another class of Shelley’s which directly precedes her Jazz class. Think of this class as Aerobics taught by a dancer and designed for dancers. It’s a very energetic hour-and-a-half. Take the two back-to-back and really kick your butt!

6pm on Wednesdays at Roy Arias. She offers the same class Mondays and Fridays during the afternoon.

Jeff Shade – Beginner Theater

Jeff’s class at STEPs is a lot of fun. While Jazz and Ballet are great for technique, Jeff’s class is really about using that technique in the context of Musical Theater. He does warm-up and stretching, work across the floor, and then a combination with a lot of Broadway flair.

7:30pm on Mondays and Wednesdays at Steps.

Scott Thompson – Beginner Theater

Very similar to Jeff Shade’s class and technique.

1:00pm on Saturdays at Steps. He also teaches Wednesdays during the afternoon.

Rachel Rak – Intermediate Theater

Okay, I’ll admit that I am way over my head in this one. However, Rachel is out of this world. She just has this energy and sass about her that is infectious. It’s impossible to not love every moment of her class, even if you are falling over yourself.

Rachel is not on faculty at Roy Arias, but teaches “In Residence”. Check the website for when she is teaching.

***M4M note --- Rachel subs at many dance studios in the city.  Here schedule is updated on her website.  

Me and Joe backstage during IOLANTHE

SPOTLIGHT ON JEN!

This is the week of spotlights!  Today I would like to spotlight an incredible woman named Jen!  She has a supernatural talent for finding the ridiculous in every situation - including DANCE CALLS!  She is the consummate non-dancer, but boy is she funny with fabulous singing chops!  No one has more fun than her in dance calls - which she will explain after I finish rambling about how amazing she is.

I first met Jen doing FIDDLER ON THE ROOF with The Village Light Opera where she played the greatest Grandma Tzeitel the world has ever seen.  One day we were both waiting for an audition together.  Since we had a few hours to wait, we left to eat dumplings (one of my many obsessions) and she told me about HER blog! http://www.jen365.blogspot.com/     HER blog is so awesome it was featured on CNN and in Cosmo Magazine!   The purpose of this blog is to try something new everyday - and her new things were usually crazy such as brushing her teeth in an elevator, wearing a mustache for a day, adopting a blue-footed boobie, and castrating a calf!  Check out her blog!  It's inspiring!  She has changed it this year to "trying things she is bad at" - and this week it's all about DANCE!  Keep checking it for updates on her progress!

I have learned so much from Jen about comedy and living life to its fullest!   I have also learned about patience and how to truly see the good in every single person and in every single situation.  A kinder heart has never existed.  She decided to channel this kindness towards helping me with my own blog.

So without further ado - let me introduce JEN!

M4M: What is your pursued career?  

Jen: Writer of books who auditions for low-pressure shows.

M4M: What are favorite forms of exercise and why?  

Jen: Free dance. The kind where there's no choreography, no instructor, no elitists, no judgments. Just loud music and legwarmers. 

M4M: What are your favorite classes (in any form of fitness) in the city and what do you love about them? 

Jen: Dance Dance Party Party, which is all of the above and more. You wear whatever you want, dance however you feel and participate as much as you feel comfortable. Last time I went I wore a tutu and hot-pink Chucks.

***M4M note - you can see a video of Jen dancing at Dance Dance Party Party here on her blog!  

M4M: What do you do at home or on the road to stay in shape when you can't get to a class or the gym? 

Jen: Rejoice in having such a lovely excuse! But I do travel a lot, and since I fear DVT almost as much as I fear dance auditions, I try to walk and stretch my legs in the galley during long flights. This usually means that a coffee pot gets knocked over, or a flight attendant has to clear her throat kinda loudly, but I have yet to accidentally open the emergency hatch with my foot. 

M4M: How do you approach a dance/movement audition? 


Jen: With abject fear and a deep desire to run.  I usually avoid auditions with a dance call. In the rare case I actually go through with it, the only option left is to just sell the hell out of it. If I can't show that I can dance, I can show them how funny I am. I've had to learn how to commit to the gist of the choreography, since I'm too clunky to make the technical parts look good. What I lack in grace I make up for in enthusiasm. This has yielded desired results only once ever. 

M4M: What advice would you have for non-dancers in a dance audition?  (or what has been the most helpful bit of advice you've received regarding dance and movement auditions.) 

Jen: SELL IT! If you know you're going for a non-dancing role, do the dance audition in character. It's better to have them notice your exuberance than your terrible extension. 

Jen backstage FIDDLER ON THE ROOF