Suzannah grew up in Brookline, MA, where she took ballet and jazz at her neighborhood studio, and developed a love for all things musical theater. At Barnard College, she explored tap and modern, and began to combine her interests in dance and writing. She graduated with a major in English and a minor in dance, writing a senior thesis on the role of dance in Jane Austen's work. She has written about dance for various online and print publications.
The Gabriela Mendoza-Garcia Ballet Folklórico performing dances from the Costa Chica region in Guerrero, Mexico (David Martinez, courtesy Gabriela Mendoza-Garcia Ballet Folklórico)
Picture a group of dancers with brightly colored skirts, embroidered jackets and hats, and fleet feet that tap out a syncopated beat as lively music plays. The women fan out their skirts, rippling them like waves as they twirl and stamp.
This is folklórico, a dance style with as much complexity, variety, and history as the country of Mexico itself. Folklórico actually refers to many traditional dances from Mexico's different regions and states, rather than one single style, and you could fill multiple books with the details of every dance. Still, if you're interested in diving into folklórico, there are a few basics you should know.
The cast of "Oklahoma!" during last year's run at St. Ann's Warehouse (Teddy Wolff, courtesy DKC/O&M)
You may think you know Oklahoma!, the classic Rodgers and Hammerstein musical that made history when it first opened in 1943 and is best known for Agnes de Mille's groundbreaking dream ballet. But the latest Broadway iteration of the musical isn't your average trip to the frontier. Opening April 7, the revival features new choreography by Mark Morris alum John Heginbotham, and swaps the traditional windswept-prairie set and full orchestra for an intimate, minimalistic staging and a bluegrass band. Coming fresh off an acclaimed run at St. Ann's Warehouse in Brooklyn, the daring, unconventional production is sure to turn heads when it begins previews on Broadway tonight. Dance Spirit caught up with Heginbotham to get all the details on the dancing, and what it was like choreographing his first Broadway show.
Jan Horvath with vocal students at Steps on Broadway in NYC (courtesy Horvath)
You've been perfecting your technique for years, and now you're thinking about auditioning for musicals—but how are you supposed to conquer acting and singing, too? While dance may be your number-one strength, that doesn't mean you can't bring some serious skill to the table with your vocals and your ability to portray a character. We asked singing and acting coaches about some of the most common challenges dancers face—and their tips for tackling them.
Shannon Mather's Body Love being performed at competition (photo by Art Lee, courtesy Shannon Mather)
WhenShannon Mather choreographed Body Love on a group of dancers from her Mather Dance Company, a video of the work was so popular that it ended up going viral, garnering over a million views on YouTube. Set to a spoken-word poem by Mary Lambert on themes of body image, unhealthy beauty standards, and self-confidence, the piece resonated not only with competition judges (who placed the piece in the top three at Hall of Fame Dance Challenge), but also with the teenage dancers in the cast. "It spoke a lot to girls," Mather says. "I got so many messages."
Dancing to spoken word can be incredibly powerful, and help you stand out in a competition. But it comes with its own set of challenges, especially if you're used to having music backing you up. Here's what you need to know if you're thinking about tackling a spoken-word piece.
n RWS Entertainment Group Audition (courtesy RWS Entertainment Group)
Figuring out how to avoid getting cut in a musical theater audition can feel like a mystery. "It's not just about your technique, it's about the whole package of the person," says Justin Bohon, a casting director at Binder Casting, whose clients include The Lion King on Broadway. But how do you present yourself in the best way possible, and avoid making a faux pas that distracts from what's most important—your dancing? Bohon and three other casting directors gave us the scoop on their biggest audition pet peeves.