On Tour with Shaping Sound
Shaping Sound Dance Company first debuted its full-length production That’s Where I’ll Be Waiting in 2013. Two years later, the contemporary show—with explosive energy from co-choreographers Travis Wall, Nick Lazzarini, Teddy Forance and Kyle Robinson, and dancers like Jaimie Goodwin, Chantel Aguirre and Amy Yakima—is still going strong, earning nightly standing ovations. What’s it like touring with one of the most popular dance productions around? Dance Spirit asked longtime company member Kate Harpootlian (whom you’ll recognize from “So You Think You Can Dance” Season 12 Team Stage!) to keep a diary for a week on Shaping Sound’s 2014–15 tour. —Jenny Ouellette
Kate Harpootlian (lower left) on the tour bus with Shaping Sound Dance Company (photo courtesy Harpootlian)
January 23: Last Rehearsal in L.A.
I was really excited to get back into rehearsals for the second half of Shaping Sound’s second tour. Once in L.A., we had four days to regroup, which is usually pretty fun. I’ve known most of the dancers since I was teenager, so getting together is like a big family reunion.
This time, though, the week got serious after our company’s morning ballet class. One of the show’s dancers, Matthew Peacock, found out he’d been booked as the assistant choreographer for Madonna’s Grammy performance. It’s an amazing opportunity for Matthew, but it means one of our understudies, Rory Freeman, will now be taking over his part. Our limited four-day rehearsal period—which we’ve had to do without props, since they’re in Texas already—has been pretty hectic. Rory is a rock star, though, and our last run-through went smoothly.
January 27: Tech in Fort Worth, TX
Today we flew from L.A. to Fort Worth—and we didn’t waste much time before going to the theater for tech. Once we were onstage, with the lights, costumes and props (!), it really sank in that tour was starting. Our set features walls that we climb up and fall off. We move them around ourselves during the show, and remembering to lock or unlock the walls while we’re performing isn’t easy. So a thorough tech is absolutely necessary.
With fellow Shaping Sound dancer Ben Susak (courtesy Harpootlian)
January 28: Opening Night in Fort Worth
Tonight’s performance was electric. My favorite part of the show is the duet I perform with Ben Susak in the “Wild Is the Wind” section. We have a great connection and we both really get into character. We also tend to change little things up each show, which keeps the piece fresh for us, even though we’ve danced it so many times. After each performance, we always do a meet-and-greet in the lobby. I love getting to speak with fans, but tonight was especially magical: My dad was there to give me a big hug!
January 29: Tulsa, OK
The grueling tour schedule has begun! We checked in to our Tulsa hotel around 4:30 am, disoriented and exhausted after our overnight drive. Believe it or not, though, it felt great to be back on the tour bus! Sometimes we’re driving for up to 12 hours at a time, and, for that reason, the bus has become one of our favorite places to hang out. We usually eat dinner and watch our most recent performance while we wait for the crew to load out—and we also love playing Catch Phrase. Our competitive group gets pretty rowdy!
Luckily, we were able to go back to sleep once we arrived at the hotel, and I felt pretty good when I woke up around 10 am. I grabbed a couple of dancers for breakfast and hit the hotel gym with Channing Cooke.
Harpootlian (third from left) during a Shaping Sound curtain call (photo courtesy Shaping Sound)
We had a 4:30 pm call time, but first we had to load all our stuff back on the bus since we’ll be leaving right after the show. Three hours before every show (our call), the company meets for notes, info about our next tour stop and to get our lighting and spacing cues. An hour and 15 minutes before curtain, we take a company ballet class. Then I put my costume on, and five minutes before curtain, we regroup onstage for our company’s pre-show ritual: After some words of encouragement, we take a few deep breaths. Our last exhale—a long “ahhh” sound—turns into a yell. Then we do a shake-off counting down from 8, and when we get to 1, someone shouts out “Shaping Sound” and we do a loud group clap. We like to think the better the clap is, the better the performance will be. It must have worked tonight!
February 1–2: Skokie, IL
After a four-show run in Kansas City, MO, and Minneapolis, MN, we finally have a couple days off. Some of the company stayed in Minneapolis, but the rest of us arrived to a full-on blizzard here in Skokie. It gave us a good reason to stay inside and rest.
Harpootlian with Travis Wall (photo courtesy Harpootlian)
Monday in Skokie was bright and sunny, so I went into Chicago to take ballet class at the Lou Conte Dance Studio—home of Hubbard Street Dance Chicago. Then I headed to the hotel to take a quick rest before teaching a master class with Ben and Channing. I guess it wasn’t much of a day off, but I love teaching. Plus, I got to reward myself afterwards by exploring Chicago one of my favorite ways—through my stomach! A lovely dinner with Travis and Nick was the perfect way to end this first week.
Shaping Sound’s 2015–16 tour kicks off this month in Escondido, CA, and runs through February. Visit shapingsoundco.com/tour for details.
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When it comes to injury-prone body parts, knees reign supreme for dancers. But a little strengthening can go a long way in preventing painful outcomes. We turned to Dirk Hartog, a physical therapist with Westside Dance Physical Therapy in NYC, for three exercises that'll support and stabilize your knees.
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Who do you call? James Whiteside, of course. On Saturday, the American Ballet Theatre principal—wearing pointe shoes and a glorious pinstriped tutu—kicked off Browne's presentation at the École des Beaux-Arts with a 15-minute, show-stealing solo. Whiteside choreographed the piece himself, with the help of detailed notes from the designer.