Everything Was Beautiful At The Ballet

A friend from my first show just posted this photo of us on Facebook.  It was taken thirty- three years ago. We were doing the musical "A Chorus Line." She played Beebe, and I played Maggie. It was an incredible experience.

I had loved the show " A Chorus Line" since I was nine years old. My mother and aunt took me to see the touring company in San Francisco. I knew from that point that I wanted to perform in musical theater. It just grabbed me. The music, the stories, the honesty, and the pain all resonated with me. The show was all about the life of a dancer. They told about their life experience, from the heart. I was amazed and enthralled.

Ten years later, I would be hired to do "A Chorus Line" at the MGM Grand Hotel in Reno, Nevada. Joe Morris directed, and Phil Riccobuono set the original choreography, which was by Michael Bennett.  I was on cloud nine.  I just loved rehearsing those numbers. It was one of the happiest times in my life.

Carol Channing and Maggie Banks came to see the show. Carol was our headliner at MGM in "Hello Hollywood, Hello!" and Maggie had assisted Gene Kelly, Hermes Pan, and Jerome Robbins. She was also my ballet teacher in Reno. They both took me aside and talked with me afterwards. Maggie said that I stuck out like a sore thumb, and that I should go to New York. I completely trusted her, because she had been so successful. She had accomplished what I wanted to do. I was elated by her advice, but also terrified. I had this very scary image of New York in my mind. I was certain that I would be mugged and raped. All I really knew about New York was what I had seen in the Charles Bronson Deathwish movies. My brother and I had watched the whole series.      

Carol Channing told me that she loved  the show, and that she planned to come see me in "42nd Street". At that time, the dance captain was trying to get me into the show on Broadway. I eventually landed a spot in the European Tour, and opened in Vienna. It blew my mind that Carol Channing always talked to me in a way that made me feel like I was the star, and she was the chorus girl. She knows how to make people feel fantastic. It's a gift that she has. Anyway, I was so fortunate to have these two ladies encourage and guide my career. I sure miss them.

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How Emotions Color Your Dancing

A few weeks ago, an adult dancer in the ballet class I take came up to me and said, "I love watching you dance. You look so happy." I laughed and thanked her. I was so surprised and flattered at her compliment. "That's because I couldn't dance for a year" I admitted. "I am really happy to be dancing again. I thought I never would." It really struck me, though. I hadn't realized that anyone was watching me.  At age 52, I am definitely probably the oldest one there, and I no longer have the extensions or the turnout that I had when I was younger. It made me realize, though, that the emotions are the most important ingredient in dancing. They come through your face, your expression, your port de bras, and your musicality.

Most of us began dancing after seeing an exciting performance. Live theater gives you that feeling of  passion, thrill, and joy. There is nothing like being on stage. When you feel that as an artist, the audience will feel it, too. Your hearts will connect.

When we are upbeat, positive, and focused, we have a spring in our step. This gives us a youthfulness and a vitality, regardless of our age. If a dancer is bored or depressed, their body language changes immensely. Everything droops and drops. We are like flowers that need to stretch upward to the sun. The same thing goes for negative emotions like anger. Ask any dancer, if you are angry or upset, your pirouettes go out the window. You need to be relaxed, confident, and centered to turn.

After I had my hips replaced, I didn't think I would ever dance again. I have had to alter the way I work, exchanging things that I no longer can do for artistry, musicality, and emotional expression. What's interesting is that it still gives me the same rush of energy and excitement that it did when I was technically proficient. I feel kind of like a three legged dog running on the beach. I am just happy to be there. I don't compare myself to others, or to how I used to be. I work with what I have, and refocus on living my life's purpose. Every dancer needs to dance. It's such a part of our identity. When we let go of expectations, we can still fly.