Being Annie: Lilla Crawford on Her Starring Broadway Role
Lilla Crawford gets a kiss from Sunny. By Joan Marcus
It’s definitely not a hard-knock life for Lilla Crawford. At only 11 years old, she’s singing, dancing and acting her heart out on a Broadway stage—for the second time! This L.A. native made her Broadway debut in 2011, playing Debbie in the closing cast of Billy Elliot. Now she’s donning a red wig to star in the title role of the Annie revival, opening at the Palace Theatre on November 8. Dance Spirit chatted with Lilla just a couple weeks after she started rehearsals.
Dance Spirit: What was your reaction when you found out you’d landed the role of Annie?
Lilla Crawford: I was really, really excited. I thought, “Wait, what? Really?” It was this moment of disbelief. It was Friday the 13th when I found out, so now I think that date is lucky.
DS: Who was the first person you told?
LC: I wasn’t allowed to tell anyone at first—I had to wait three weeks. I went on the “Today” show to announce it, and then we put it on my Facebook fan page. So everybody kind of found out at once. My friends were calling me like, “Oh my gosh, really?” They were sad to see me leave L.A., but they were so happy for me. I know they’re all going to come see me perform.
DS: What have rehearsals been like so far?
LC: Building the show in rehearsals has been so cool. Every day I learn something new, and I’m excited to do the show from start to finish. All the scenes are fun, and the other kids are my best friends. We met for the first time during the audition process, and they’re all so nice. Also, working with the dog who plays Sandy is great. Her name is Sunny, and she’s the cutest. We’ve been practicing together a lot.
DS: Do you have a favorite part of the show?
LC: I love the whole show! I’ve seen the movie a million times, and I saw the play when it toured to L.A. I don’t really have a favorite part, but I like the number “N.Y.C.” That one’s fun to perform.
DS: You made your Broadway debut in Billy Elliot last year. So far, how is Annie different?
LC: The rehearsal process is definitely different. With Billy Elliot, I was being put into a show that was already running, so I started rehearsing by myself, then with the other Ballet Girls, and then finally with the rest of the cast. But I only rehearsed with the whole cast once before I went on. For Annie, we’re learning it all together because it’s an original cast. I’m excited because I’ve never done previews, a tech week or an opening night before. I think my favorite part will be tech week, when we start to rehearse onstage with all the cool set pieces and costumes.
DS: Imagine yourself in 10 years. What will you be doing?
LC: I’ll probably still be acting because I love it so much. There are so many parts I would love to play, but my dream role would probably be Reno Sweeney in Anything Goes. That would be a really fun character.
Getting corrections from our dance instructors is how we grow, and as students, it's important that we do our best to apply every correction right away. But sometimes—whether it's because we're in physical pain, or have a lot on our minds, or are just not paying attention—those corrections don't sink in. And from a teacher's standpoint, giving the same corrections time and time again gets old very fast. Here are 10 important corrections dance teachers are tired of giving. Take them to heart!
Summer intensive auditions can be nerve-racking. A panel of directors is watching your every move, and you're not even sure if you can be seen among the hundreds of other dancers in the room. We asked five summer intensive directors for their input on how dancers can make a positive impression—and even be remembered next year.
Harper Watters is a ballet dancer for today's generation. A social media maestro and a charismatic performer, the Houston Ballet soloist is equally at home in front of the camera hosting his hit YouTube series, "The Pre Show"; interacting with fans on his crazy-popular Instagram account; or showing off his beautiful classical technique onstage. It's a multifaceted identity that's proven to be invaluable to his career—and it's taking him to places he never even dreamed of.
Postmodern pioneer Trisha Brown redefined how dance is seen and felt. A founding member of Judson Dance Theater, Brown frequently collaborated with other experimental artists like Yvonne Rainer, Merce Cunningham, Twyla Tharp, and Steve Paxton.
She embraced pedestrian movement, pairing everyday gesture with rhythm and fluidity. "It's liquid," says Wendy Perron, who danced with Brown in the '60s and '70s. "Like a river with many tributaries, water coming out of a faucet, or being on a raft and seeing the water move away in different directions." Brown also pushed beyond stages with choreography in fields, museums—even on the sides of buildings.
There's a common misconception that a dancer's body has to be thin. But the truth is that talent knows no body type, and the number on the scale never determines an artist's capabilities. Here are some extraordinary dancers fighting the stereotype of what a dancer "should" look like.
We always love a good halftime performance. And we LIVE for halftime performances involving talented kids. (Fingers and toes crossed that Justin Timberlake follows Missy Elliott's lead and invites some fabulous littles to share his Super Bowl stage.)
So obviously, our hearts completely melted for 5-year-old Tavaris Jones. Tavaris may have just started kindergarten, but during Monday night's game between the Cleveland Cavaliers and Golden State Warriors, the Detroit native danced with the panache of a veteran pro at halftime.
The coolest place she's ever performed:
I'd have to say the Super Bowl. The field was so cool, and Katy Perry was right there. And there were so many eyes—definitely the most eyes I've ever performed for!
Something she's constantly working on:
My feet. I'm flat-footed, so I'm always hearing, 'Point your toes!' And I'm like, 'I am!'
My hair! That, and a pair of leggings with a T-shirt or tank top.