Podcasts about Paul Taylor Dance Company

The artistic director of the Paul Taylor Dance Company summarizes his aesthetic: “The curtain goes up, twenty minutes happen, the curtain comes down, and it is transformative.” Easy to say, brilliant to achieve. And they do.

Welcome to this Inwood Art Works On Air podcast artist spotlight episode featuring costume designer, Barbara Erin Delo. Barbara Erin Delo is a Costume Designer and Artisan working in dance, theatre and opera. A New York native, she has previously designed costumes for Williamstown Theatre Company, Bay Street, Berkshire Theatre Group, Theatre at St Clements, Judson Church, The Flea, Hideaway Circus, York Theatre, Capital Repertory Theatre, Castillo Theatre, Martha Graham Dance Company, Paul Taylor Dance Company, Parsons Dance Company, Megan Williams Dance Projects, Battery Dance Company, NYC Fringe Festival, Chain Theatre Company, Third Rail Productions as well as many other NY and regional theatres. In addition, she studied costume design at SUNY Binghamton and NYU Tisch. For more info visit www.barbaraerin.com

"Dance Talk” ® with Joanne Carey with special guest, Robert Battle, choreographer, artistic director and newly appointed resident choreographer for the Paul Taylor Dance Company.In this episode of "Dance Talk” ® with Joanne Carey, host Joanne Carey interviews Robert Battle. Together they discuss Robert's journey from his early beginnings in dance in Miami, his experiences at Juilliard, and his time as artistic director of the iconic Alvin Ailey Dance Theater. Robert shares insights on the importance of mentorship, the creative process in choreography, and the significance of celebrating humanity through art. The conversation highlights the challenges and triumphs of a career in dance, emphasizing the value of connection and community in the arts.Robert Battle's journey to the top of the modern dance world began in the Liberty City neighborhood of Miami, Florida where he showed artistic talent early and studied dance at a high school arts magnet program. From there he attended Miami's New World School of the Arts and then the dance program at The Juilliard School where he met his mentor Carolyn Adams. He danced with Parsons Dance from 1994 to 2001, and set his choreography on that company starting in 1998. Mr. Battle founded his own Battleworks Dance Company in 2002 which performed extensively at venues including The Joyce Theater, American Dance Festival, and Jacob's Pillow. A frequent choreographer and artist in residence at Ailey Ailey American Dance Theater since 1999, he set many of his works on the Ailey Company and Ailey II. In July 2011 he was personally selected by Judith Jamison to become Artistic Director of Ailey, making him only the third person to head the Company since it was founded in 1958. During his 12 years as Artistic Director he expanded the Ailey repertory with works by artists as diverse as Kyle Abraham, Mauro Bigonzetti, Ronald K. Brown, Rennie Harris, and Paul Taylor. He also instituted the New Directions Choreography Lab to help develop the next generation of choreographers. He stepped down from the position in 2023.For more information about Robert Battle and the Paul Taylor Dance Companyhttps://paultaylordance.org/“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/Follow Joanne on Instagram @westfieldschoolofdanceTune in. Follow. Like us. And Share.Please leave a review!“Dance Talk” ® with Joanne Carey"Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

This week, Jessica talks with Don Seaver, psychiatrist & composer/songwriter. Don worked as a Medical Director for the San Francisco County Jail for 30 years, and he currently practices psychiatry with Kaiser Oakland. As a composer, he has collaborated with the Paul Taylor Dance Company, San Francisco Shakespeare Festival, New Conservatory Theatre, and various companies and artists in the San Francisco Bay Area.  Find Don at donseaver.com and listen to Lady of the ‘Loin on Spotify. ~ Are you a high achiever, a leader, or an Ampersand who's recently taken on more responsibility at work? For high-achieving professionals, Jessica Wan's executive coaching services stand out as a rare gem. She provides strategic guidance and practical solutions, a unique offering that not only propels her clients' careers forward but also builds their capacity for significant leadership roles in their respective sectors. Her innovative coaching techniques and personalized approach set her apart from the rest. BOOK AN INTRO CALL: ⁠https://calendly.com/jessicawancoaching/intro-call-coaching⁠⁠ Follow Jessica on LinkedIn Credits Produced and Hosted by ⁠⁠Jessica Wan⁠⁠ Co-produced, edited, and sound design by ⁠⁠⁠⁠Carlos Schmitt⁠ Theme music by ⁠⁠Denys Kyshchuk⁠⁠ and ⁠⁠Stockaudios⁠⁠ from ⁠⁠Pixaba⁠y⁠

This episode was recorded live at the Vail Dance Festival on Sunday, July 28, 2024. Larry Keigwin has the kind of versatility in his choreographic portfolio that makes him an instant fit for the Vail Dance Festival: commissions from iconic organizations like the Paul Taylor Dance Company and Martha Graham Dance Company, acclaimed work on broadway, and the founding of his own ensemble, Keigwin + Company, now in its 20th season. Conversations On Dance hosts Rebecca King Ferraro and Michael Sean Breeden sit down with Keigwin to talk about his rich personal history as a dance maker, his passion for dance education, and how his work ‘Rhapsody', which will have its VDF premiere this year, utilizes community members alongside artists to create a harmonious celebration of humanity and shared space.See his community work, 'Rhapsody,' on Tuesday July 30: https://vaildance.org/event/dance-for-2024/.Upcoming Conversations on Dance events at the 2024 Vail Dance Festival: https://vaildance.org/conversations-on-dance/LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

“Dance Talk” ® with Joanne Carey and special guest, Lauren Lovette, Resident Choreographer for Paul Taylor Dance Company In this episode of  “Dance Talk” ® with Joanne Carey,  join host Joanne Carey as she chats with Special Guest, Lauren Lovette. Joanne sat in on a rehearsal of a new piece for all male dancers that Lauren created for The Paul Taylor Dance Company prior to this episode.  Here they not only talk about this new piece, but Lauren's career as a ballerina and the transition Lauren made into the modern/contemporary dance world as well as her current position as resident choreographer.  During their conversation, you will also hear that they share the belief that dance belongs to everyone. Lauren Lovette  personifies the intertwining of dance and choreography, moving seamlessly from one to the other. Her work has been commissioned and performed by leading dance companies and festivals, including the New York City Ballet, American Ballet Theatre, the Vail International Dance Festival, American Ballet Theatre Studio Company, the Paul Taylor Dance Company, Nevada Ballet Theatre, as well as a self-produced evening entirely of her own work in which she also danced, Why It Matters.She began creating dance as a ballet student, for a 2007 choreographic workshop showing at the School of American Ballet (SAB). Another ballet, for the 2008 workshop, was soon followed by her being selected to create a work for the 2009 New York Choreographic Institute.In 2016, Lovette, then a relatively new principal dancer, was asked to choreograph her first piece, that then premiered at the New York City Ballet Fall Fashion Gala. In 2017, she choreographed for the Vail International Dance Festival, the NYCB Fall Season Gala, and the American Ballet Theatre Studio Company. She was awarded the Virginia B. Toulmin Fellowship at the Center for Ballet and the Arts at New York University in fall of 2018, and a year later created a work for the 2019 Fall Fashion Gala at NYCB. Her work at NYCB is noteworthy, forging a path for other female choreographers in an area of dance that has notably been predominantly male.Born in Thousand Oaks, CA, Lovette began studying ballet at the age of 11 at the Cary Ballet Conservatory in Cary, NC. She enrolled at SAB as a full-time student in 2006. In October 2009, Ms. Lovette became an apprentice with NYCB and joined the Company as a member of the corps de ballet in September 2010. Promoted to soloist in February 2013 and to principal dancer in June 2015, she stepped down from her position at the company in 2021 to embark on a career devoted to dance and choreography in more equal measure. Ms. Lovette received the Clive Barnes Award for dance in December 2012 and was the 2012-2013 recipient of the Janice Levin Award. Follow on Instagram @laurenlovette @paultaylordance Find out more about Paul Taylor Dance ⁠https://paultaylordance.org/⁠⁠⁠⁠ Follow Joanne Carey on Instagram @westfieldschoolofdance And follow  “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. Tune in. Follow. Like us. And Share. Please leave us review about our podcast  “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

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On today's episode of 'Conversations On Dance' we are joined by star ballerina and resident choreographer of the Paul Taylor Dance Company, Lauren Lovette. We talk to Lauren about the leap of faith she took in leaving New York City Ballet to freelance, how her choreographic voice has developed since being offered her role as resident choreographer and what to expect from her dual world premieres this fall season. Tickets for Paul Taylor's fall season at the David H Koch theater this Oct 31st through Nov 12th can be purchased at paultaylordance.org. THIS EPISODE'S SPONSOR:New York Theatre Ballet celebrates its 45-year legacy with a Fall program of World and Company Premieres by Artistic Director Steven Melendez, Douglas Dunn, David Gordon, and Amanda Treiber, Friday, October 6 and Saturday, October 7 at Florence Gould Hall in New York City. New York Theatre Ballet performs small classic masterpieces and new contemporary works for adults and innovative hour-long ballets for young children, all at affordable prices. This season's “Once Upon a Ballet” series features The Firebird and Merce Cunningham's Scramble for four family-friendly shows, Saturday, October 7 and Sunday, October 8. For tickets and information, please visit NYTB.org/tickets.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-CODEmail us: info@conversationsondancepod.com Hosted on Acast. See acast.com/privacy for more information.

There is a long and global tradition of artists—visual, performing, and literary—creating arresting, even beautiful works that address the horrors of war. How is art used as a form of protest, to change minds as well as hearts? What happens to its meaning over time—as war persists, and as new battles erupt? And what does it say about us all that war has inspired acclaimed works from artists as diverse as Pablo Picasso, Pussy Riot, and Chimamanda Ngozi Adichie? In 1932, amid Hitler's rise to power, the German choreographer Kurt Jooss created The Green Table, a ballet subtitled A Dance of Death in Eight Scenes. As the Paul Taylor Dance Company brings this work to The Music Center—as part of its Glorya Kaufman Presents Dance at The Music Center series—join us for a panel discussion, moderated by Pulitzer Prize-winning author Viet Thanh Nguyen. Can such art help us now, in a moment of many international crises? And how do warmongers and politicians co-opt and commission art as propaganda? Panelists included Gelare Khoshgozaran, artist, filmmaker and writer; Khalil Kinsey, COO, chief curator and creative director for the Kinsey African American Art & History Collection; Michael Novak, artistic director, Paul Taylor Dance Company; and Nadya Tolokonnikova, creator, Pussy Riot. This event took place on April 25, 2023 at The Music Center and was moderated by novelist and professor Viet Thanh Nguyen.

Renowned dancer Michael Novak rose to prominence when he became the second Artistic Director in the history of Paul Taylor Dance Company, where he is working to preserve and expand upon the legacy of his predecessor. Michael shares how a speech impediment at age 12 rendered him nearly mute and how dance became his outlet for expression, why he gave up a career on stage at age 21, and how Paul Taylor's style and aesthetic ultimately inspired him to return to a life in dance.Check out Michael Novak on Instagram and Facebook.Learn more about Paul Taylor Dance Company on the web, YouTube, Facebook, and Instagram.Follow Moving Moments on Instagram.Follow Alicia on Instagram.You can find out more about Artful Narratives Media on Instagram or the web.The Moving Moments theme song was composed by Saul Guanipa for Videohelper.Moving Moments was co-created by Alicia Graf Mack, Jessica Handelman, and David Krauss. This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

Tune in as Michael Jamin talks with his good friend, actor Rick Negron who plays King George in Hamilton. Discover what he has to say about being the first Latino King George, doing his first show in his home country of Puerto Rico alongside Lin-Manuel Miranda who was acting as Hamilton, and his overall Hamilton touring and acting career experience.Show NotesInstagram: https://www.instagram.com/rick_negron/?hl=enIMDB: https://www.imdb.com/name/nm0624508/?ref_=nmmi_mi_nmIBDB: https://www.ibdb.com/broadway-cast-staff/rick-negron-107348The Spokesman-Review: https://www.spokesman.com/stories/2022/apr/28/youll-be-back-in-playing-king-george-iii-in-hamilt/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated Transcript:Rick Negron (00:00:00):That's still the case nowadays for a lot of young dancers and, and musical theater types. They go to New York and they take dance classes and they take voice lessons, and they take acting classes, and they get that picture and resume ready, and they go to open calls. And if you're talented and you're lucky sometimes you, you get an equity show, a, a union show from an open call. It's tough. And you have to, you have to hit that pavement. And sometimes, you know, getting to know, being in the right place at the right time. I, I, I was mentioning to you before that I, I booked this H B O commercial and I met more a dancer on that show who said, Hey, you'd be right for the show. And one of the guys is leaving the show and they're having auditions at the theater, and you should go. And that's how I got my first Broadway show.Michael Jamin (00:00:50):You're listening to Screenwriters. Need to hear this with Michael Jamin.Michael Jamin (00:00:58):Hey everyone, it's Michael Jamin. Welcome to Screenwriters. Need to hear this. If you are an aspiring theatrical actor, I got a present for you and we're gonna unwrap him right now. And his name is Rick Negron. And he's been my buddy for many years. He's at my wedding. We go back, Rick. Now Rick is most famous for probably, he's done a ton of stuff though, but he's probably most famous for playing the role of king George in the touring company of Hamilton, which he's been doing for four years. But he's done a ton of Broadway stuff. We're gonna talk about him. He's also done voices. I didn't know this, but he was also he does vo he did some voices in Red Dead Redemption as well as grand Theft Auto, which I wanna know all about that as well. But mostly I wanna talk about his incredible theatrical acting career. Rick, thank you so much. Thank you so much for . ForRick Negron (00:01:47):What? Michael Jamin? I'm in the room. I'm, I'm in the room where it happens, man.Michael Jamin (00:01:52):, this is the room. This, what people don't realize is that I recorded some of this and I bone, I didn't, I didn't record, so, yeah. And this is, this is part two of our interview. I had a record over cuz I wasn't recording. StuffRick Negron (00:02:03):Happens. And you know what, Michael, you, you and I can talk till the cows come home. This is not a problem.Michael Jamin (00:02:09):This Rick's great guy, and he's gonna tell us all about. I, I, I had, so there's so much I wanted to get outta you, but first of all, what I, we were talking about is, you've been doing Hamilton, you've been King George and Hamilton, the first Latino King George, I might say, which is a big deal. And so yeah, you've been touring the country from city to city, and I kind of really wanted to talk to you about like, what is your, what is your day like when you go up on stage, you know, what are you doing before, what you're doing all before that, before you got on stage, because it's a, you've been done. How many performances have you said you're done? This,Rick Negron (00:02:44):I'm over 900 easily. I'm close to like nine 50. I, I, I don't count 'em, but every time the, the company management has like, oh, this is our 900th performance, I just kind of go, well, I've only missed maybe about between vacations and days that I've been sick. Maybe I've missed 30 at the most over a four year period. , that's, I've, I've done a lot of performancesMichael Jamin (00:03:11):And, and we were talking about this and your character, like I, I've, I hate to make you repeat it, but how do you get, like, how do you get psyched up before each show when you do that many shows? How are you, what's your process before you, you run on stage?Rick Negron (00:03:27):Well, this, this character is a real gift in the sense that it's beautifully written. Mm-Hmm. , it's just three songs. honestly, Uhhuh . I'm on stage for a little over 10 minutes, but it's so well written that if I just hook into the words of, of the songs, I got 'em. Uhhuh you. I, I, I can, I can hook my myself into that myself, into that character very easily, just with the words. But the other gift is that I have time to get ready. So when every, when the show, when we are at places and the show starts, that's when I get my wig on. Mm-Hmm. I still have 15 minutes to do some vocal warmups and get dressed. And are youMichael Jamin (00:04:12):To being like tea with lemon? What are you sit, what are you doing that day?Rick Negron (00:04:16):Nah, nah. I, I mean, I'm not a huge tea guy unless, unless I'm having some vocal distress. And then I do like a nice warm tea with honey and lemon if I'm, if, if my voice is a little wonky or my throat's a little sore. But the main thing for me for vocal capacity is sleep. If I get less than seven hours, my voice suffers. If I eat a lot of cheese and dairy, that's gonna be a lot of gunk on the vocal courts.Michael Jamin (00:04:45):But if you're nervous the nightRick Negron (00:04:46):BeforeMichael Jamin (00:04:47):Hmm. But if you're nervous, if you have, if you get stage nerves and you can't sleep the night before , right? I mean, no. Are you, are you beyond that?Rick Negron (00:04:55):Yeah, I'm beyond that. I mean, I've been in the business long enough that, that I, I get nervous. Uhhuh and God knows, I was nervous the first time I did the show in front of an audience in Puerto Rico of all places. Right. That's where we opened, right. With Lynn Manuel Miranda back in the role of Hamilton after being a away from it for a few years. That was a dream job because I'm from Puerto Rico and I literally went back homeMichael Jamin (00:05:23):To a heroRick Negron (00:05:23):Welcome star and one of the biggest shows on Broadway with Lynn Manuel Miranda and me playing the king. Yeah. I was born like four blocks away from the theater that we were at. It was just crazy sauce. So yes, I was incredibly nervous opening night. And there was my wife, my sister-in-law, in the audience you know, yes. Really nervous. But did I lose sleep the night before? No. I slept like a baby. No, really? My nerves don't really hit me until I start putting on that costumeMichael Jamin (00:05:51):. Really? Yeah. I see. I would imagine to me, I mean, I know it's a big deal to be star of a movie, but to me this to me seems like a bigger deal. What you, what you're doing in terms of, it seems like a you are lead in this giant freaking play that, I mean, one of the biggest plays, you know, of our, of our time on. Seriously. Yeah. Yeah. And you are these, you play this character who the minute he walks on stage, the place goes nuts cuz you hit a home run and then you walk out, you're the home run guy. Exactly. Bye. Hello. No. ExpectRick Negron (00:06:21):Bye. And by the way, no expectation. I'd literally walk on stage and the place goes bananas. And I haven't saidMichael Jamin (00:06:26):A word. Right. They love you before. You haven't even said anything. I mean, what a huge, I don't know. I just think this is like, I don't know, if I were an aspiring actors, that would be the part. I don't see how you, I don't know how, where you go from here, Rick Rick Negron (00:06:41):. It's all downhillMichael Jamin (00:06:43):.Rick Negron (00:06:45):No, I guess listen, it, the beauty of it is also that I've had this really long career mm-hmm. and, you know, I started out as a chorus boy on Broadway and then worked myself into understudy and then did some roles. And then finally at, at a ripe old age. I've gotten this great job and I've really, I'm at the point in my life where I'm really enjoying it. Yeah. I'm enjoying the process. I'm enjoying the traveling cuz I, I, I've toured some, but I haven't toured a lot. And this tour has been to some really great cities all on the west coast up and down the west coast. Yeah, the mountain west. In the winter I got some snowboarding in, in Salt Lake City, Denver. I,Michael Jamin (00:07:33):Where are you supposed to do that with you if you break your leg?Rick Negron (00:07:36):Yeah, I'm not supposed to do that. Can we delete that from the podcast? ? We can take that out. . It's in the past. I don't care. Okay. I, I stayed on the bunny slopes. I Right. I really took it easy. But then we spent summer in Canada, which was amazing. I was up in Calgary in the summer and went up to band for the first time in my life. And my wife, Leslie, who you know well, came up to visit and we stayed on Emerald Lake and I just spent two months in Hawaii. So this tour has just been amazing. Well, it started out in Puerto Rico, as I said, right. For a month with Manuel Miranda. And then we went to San Francisco and sat for a, a year in San Francisco. So I got to live in San Francisco Right. For a year and experienced that incredible city until the pandemic. And then we shut down for a year and four months before we started up again.Michael Jamin (00:08:27):And then, and then So how did you start? We, how did you start? Like, you know, take me back. I know you, I know you were, take me back to when you were a child. Did you, I mean, this is, did you dream of being a Broadway star like this? Like, what happened? Who, who dreams of that? Like who, how, I mean, you all dream of that, but who achieves it, I guess?Rick Negron (00:08:46):Well, a lot of people do. A lot of people do. And, and, and not everybody has the path that I had, but some of us get bitten by the bug early on. And I got bitten by the bug when I was 10. Right. And my mom was the drama teacher at school. And I guess I blame her for everything. But this mustMichael Jamin (00:09:06):Be the be like, you must be the, the crowning achievement in her, in her in her life.Rick Negron (00:09:12):Yeah. She's, but I did, she's pretty proud. And I have ano another sister who also went in into theater and and so the whole family kind of w it was the family thing we all sang. Right. we all did mu mu musicals in the local community theater and children's theater. So it was a family thing for us growing up. But I'm the one that sort of got bitten hard. And then I got involved, like at 14 mm-hmm. a choreographer. I was doing a, a mu a children's theater show, said, Hey, you've got some talent as a dancer. Come take, I'll give you a scholarship at my little dance school. And so after school at 14, I would go take ballet, jazz, tap and acrobatics after school with Susan Cable, who luckily was a great dance teacher. She had been a, a chorus person on Broadway.(00:10:05):Wow. And, and, and that's what, how I started in my dance career. And then it kind of took off. And by the time I got to college I thought I was gonna be a, a concert dancer. I was in college, I was sort of groomed to, to, to possibly go into the Paul Taylor Dance company. And I actually was not on scholarship. I was a intern with a Paul Taylor dance company for a while until I realized I'm making no money. I'm working super hard and I've always wanted to be on Broadway. That was my realMichael Jamin (00:10:42):Dream. So those people don't interchange those concert dancers. Don't, they don't.Rick Negron (00:10:46):Some do it. Usually the concert dancers, if they can sing.Michael Jamin (00:10:52):Right.Rick Negron (00:10:54):Will, will sort of move into the musical theater world and sometimes move back into the concert dance world. One of the great concert dancers of all time who I met when he was super young, Desmond Richardson mm-hmm. he was a lead dancer with the Alban AI company for many, many, many years. I mean a God in the dance world. And now he owns his own owns, he runs his own dance company, complexions. And he's a great choreographer. And he was in the bad video with me back in the day with Michael Jackson. Right.Michael Jamin (00:11:30):So Rick was in the, I should say for the, I don't wanna gloss over this. Rick. Rick was in the a dance for, in the Michael Jackson's bad video directed by Martin Scorsese. Yeah. Was Quincy Jones produced?Rick Negron (00:11:41):Yeah, 1985. I was, I was a chorus dancer at the time. I was in I was doing my second Broadway show. The mystery of Evan, Dr. My dance captain was Rob Marshall. went on to direct Chicago, the movie and many other movies since then. And, and while I was doing the show, there was this audition for the bad video and yeah, it was, it was really surreal. I took vacation from, from the Broadway show to do the video and, and, and got to meet Michael who was really sort of like, it was two people in that body. I mean, he was super shy and, and sort of very reserved, but the minute the cameras went on it, he was, he became somebody else. Right. And he was a perfectionist. 25 takes sometimes e every setup. And Scorsese was famous for just burning through film. Easy 20 Takes the video was supposed to shoot for two weeks, and I think it went for four. And this is a music video. It was the first SAG music video at the time, by the way.Michael Jamin (00:12:44):Really?Rick Negron (00:12:45):Anyway, Desmond Richardson was a young dancer at the time. There were a lot of young New York dancers in, in that show. And he famously went into the Avid Ailey company, but then he also worked on Fosse the Musical. And he also worked on Chicago. The, the movie with me. I, I got to work on Chicago, the movie cuz I had this great relationship with Rob Marshall and, and I was invited to audition. I didn't get, the dancers don't usually just get the job. You still have to come in and audition. Right. But even though, you know, the people involved it just is the way it is. And, and there was, and, and Desmond and, and I, we bump into each other all the time and we have so many memories. You know, going back 20, what is that, 85? 1985 was the bad video.(00:13:35):And I, I still bump into 'em. I I've been into 'em at the opening of the new USC school a few years ago. The School of Dance there at usc, the Kaufman School of Dance, I think it's called. But anyway yeah, people go in in from the dance world into musical theater and they go back and forth. Not a lot. Actually. We have one member of our, our of our of our Hamilton company, Andrew who was a modern dancer in the dance world and then moved into musical theater. And,Michael Jamin (00:14:04):But you were telling me how, and this is kind of important cause people are gonna be like, well, how do I break in? And you were, I mean, what, as you were explaining, it's like, it's basically you had this, you were just, you were in the circle, you were just there, and then things le one thing leads to enough simply because you put yourself there. Right. So how did you, what was your first break? How did you get that? I mean,Rick Negron (00:14:24):Every, everybody, everybody has a, a different story about first breaks. And when I was starting out, it was really different. Things have changed, you know, in all these years. Now, if you go to the right school, you can get into the right you know casting director workshop. And they see, oh, really? You, and, and maybe you get an agent out of that workshop and, and you know, it's, it, when I started out it, that wasn't the case when I started out. You go to New York, you start taking dance class at all the big dance studios where all the other Broadway dancers are taking dance class mm-hmm. . And then you pick up Backstage. Mm-Hmm. newspaper, and you go to the open equity calls for every show. I remember my first open equity call was for cats, the national tour, right after Cats had opened on Broadway.(00:15:14):And I, I had four callbacks. I got really close to booking cats, but I didn't. And and I just kept going to open calls. And that's still the case nowadays for a lot of young dancers and, and musical theater types. They go to New York and they take dance classes and they take voice lessons and they take acting classes and they get that picture and resume ready and they go to open calls. And if you're talented and you're lucky sometimes you, you get an equity show, a a union show from an open call. It's tough. And you have to, you have to hit that pavement. And sometimes, you know, getting to know, being in the right place at the right time. I, I, I was mentioning to you before that I, I booked this H B O commercial and I met one, a dancer on that show who said, Hey, you'd be right for the show. And one of the guys is leaving the show and they're having auditions at the theater and you should go. And that's how I got my first Broadway show by somebody suggesting that I go audition and I showed up at the theater and auditioned. And that night I got the job. And that's how I got my first Broadway show. The moreMichael Jamin (00:16:24):People, you know, the more you work, the more you hear andRick Negron (00:16:27):The more you Exactly. Yeah. You're in the mix. You have to in be in the mix and you have to network. And nowadays that involves, as you know social media and getting, getting followers and, and and, and putting out videos of yourself, singing and putting out videos of yourself, dancing and putting out videos of yourself, acting. I mean there's all that stuff that's going on now that wasn't going on when I started. But is, is is the new reality of how do you get into the business really. Okay. And, and when young, when young people ask me how, you know, how do I get started? And I say, well, in your hometown, get involved. Do the, do the school musicals, but get involved with the community theater. In any way you can. If, if you want to be an actor, but you know, there isn't a role for you do the work on the sets.(00:17:19):I worked on sets in community theater. Mm-Hmm. , I helped my mom. She, she was makeup artist too. And so I helped with makeup and I, I did lights. I, you know, I did all kinds of stuff just to be in the room. Right. Just to see other people work, to, to network, to meet people. And and I'm glad I did because I kind of know my way around all the different elements of theater. You know, I know what Alico is. I know, you know what all the different microphones are that they use in theater. And I, I always, I always befriend the crew. I think , as an actor, we can tend to be insular andMichael Jamin (00:17:57):Oh reallyRick Negron (00:17:58):Hang out with just the actors. I hang out with the crew. The crew knows what's up. Uhhuh , the crew knows where the good, the good bars are in town. They, you know, the crew is, and, and they're the ones that watch your back. When you're on the road.Michael Jamin (00:18:13):Now you were explaining to me the, and I didn't know the difference between, cuz you as the king, king, king George, you have two understudies, but there's also swing actors. Explain to me how that all works.Rick Negron (00:18:24):So in the show, you usually, you have the ensemble, which is what we used to call the chorus. Yeah. And then you have the leads. And in the ensemble you usually have two male swings and two female swings. So those individuals are not in the show nightly, but they literally understudy all the f the, the females understudy, all the females and the males understudy. All the males. And that's usually a case. They have two male and two female. In Hamilton, we have four female swings and four male swings. I think I'm right. Three or four. We have a lot. And that's because Hamilton is such a, a beast of a show. It's so hard. Physically. People get injured, people get tired.Michael Jamin (00:19:06):It's like being a professional athlete. It's no different.Rick Negron (00:19:08):Yeah. Yeah. And you're doing it eight times a week. And after a year it's repetitive motion for a lot of dancers. Oh. So I always tell those dancers, don't just do the show. Go, go and do yoga. Go do a dance class cuz you have to work your muscles a different way. Otherwise you're gonna get repetitive motion injuries. Wow. You know, like the same person that that screws on the, you know, back in the day when they screwed down the, the toothpaste cap every day that those muscles every day, all day long are gonna get messed up.Michael Jamin (00:19:37):But do they have like a trainer or doctor on set at all times?Rick Negron (00:19:40):We have a personal train PT, physical therapist right on tour with us. Most heavy dance shows will have that on tour. Because they need, they need the upkeep. The dancers, especially in this show work so hard. They, they need somebody to help them recover from injury. And, and just keep their bodies tuned up.Michael Jamin (00:20:04):And so let's say you get, you're in Hamilton, let's say you're, you're a swing or whatever, but, and then you're on tour, they what, give you a per diem? Or do they put you up in housing? How, like what is the, what is that really like to be?Rick Negron (00:20:15):So let me I'm, I'm gonna finish the whole understudy thing because Oh yeah. You have the swings and then you have the understudies, which are people in the chorus who understudy the leads. But then you also have standbys. And the standbys aren't in the show. Right. But they're backstage and they understudy anywhere between 2, 3, 4, 4 different characters. And so at the drop of the hat, they can say, Hey, you're on tonight for Burr, or you're on tonight for Hamilton. It, it can happen five minutes before the show. You can know way in advance cuz you know that character's going on vacation and stage management has told you, oh, you're gonna do the first five of, of, of the, of the vacation or the first four and somebody else is gonna do the other four. So you may know ahead of time and you can ask or tell your friends and family to come see you do that role. Right. Cause you know, ahead of time. But many times you, you find out last minute that somebody is sick or, or doesn't fe or hurt their knee or whatever. Or even in the middle of the show, sometimes somebody will twist an ankle and boom, we have a new bur in act two. It, it's, it's happened not a lot, but it's happened often enough that the understudies come in, warmed up and ready to go.Michael Jamin (00:21:26):But you explained to me even before every performance, even though you've done the same freaking songs for 900 times, you still mentally prepare yourself. You go through, you rehearse each, each song that you go through. So you walk yourself through it. But I can't even imagine if, like, if you, how do you prepare yourself for four different roles possibly. You know, like how do you do that? It's like you, it'sRick Negron (00:21:49):Crazy. Yeah. They, they, I know some of them will go over like difficult passages in the show because there's, there's moments in the show, like for Lafayette he's got in guns and ships. He's got some, some rap that are so fast. Yeah. That I, I know the understudies will go over those, what, what we called the, the, the moments when you can trip up. You go over those moments before you go on, but the rest of you can't go through the entire show. Right. Just pick and choose those moments where you can like go backstage and just go over your words and make sure they're, they're, you know, under your belt. I go over my words because I sing the same tune three times, but with different lyrics. Right. And the, and the trap is to sing the wrong lyric in the wrong song, which I had done. And it's, there's nothing more embarrassing and gut wrenching than to sing the wrong lyric in the wrong song. And you just have to find your way back. And it, they call it walking into the white room. And because literally what does that will happen and your mind will, your mind will explode, your armpits will explode with sweat. Your eyeballs will get this big, your throat will dry. It is flight or flight or flight moment.Michael Jamin (00:23:07):Yeah. AndRick Negron (00:23:08):It's so hard to, to like try to grasp the right lyric. And, and you're in, you're literally in a white room. Yeah. And you're going, oh shit. How, how do I get back?Michael Jamin (00:23:20):Right.Rick Negron (00:23:21):And for me it's a little easier cuz my song is nice and slow, but can you imagine being Hamilton and you're rapping a mile a minute and you go into the white roomMichael Jamin (00:23:29):And do you guys talk about that? OhRick Negron (00:23:32):Yeah. Yeah. Famously on Broadway, there, there, there was a something called Burst Corner. Uhhuh which was, I, I forget who started it, but I think , they, they told 'em not to do it anymore. It was something where they post on Instagram or Facebook. Oh. so-and-so, you know, said this instead of what they should have said, you know, basically coming out and, and owning your faux PAs during a live show. Right. I remember when I did Manda La Mancha with Robert Gole on tour. He used to make up lyrics sometimes. And we, and one of the guys in the show started jotting them down. And at the end of the tour, they basically roasted him at a, at the closing night party with all the lyrics that he made up throughout, throughout the entire thing. And he was not amused.Michael Jamin (00:24:20):He was not amused. I was gonna say, IRick Negron (00:24:23):Was not amused with that one. Okay. But my favorite faux pod of his was we were in Nashville and he started singing Impossible Dream. And he's sang to dream the Impossible Dream to fight the unat of a fo to carry Moonbeams home in a jar.Michael Jamin (00:24:41):And there was like, what?Rick Negron (00:24:44):That's a big Crosby song. Oh, funny. Carry Moon Beams Home in a Jar. It's an old Bing Cosby song. And he just pulled that lyric outta nowhere and inserted it into the impossible dream. And everybody backstage just went,Michael Jamin (00:24:59):What do he say? Oh my God. That's hilarious.Rick Negron (00:25:03):But you know, I I'm, I'm, I might be roasting Robert Gole at the moment, but everybody's had those moments. Yeah. Especially in Hamilton, it happens cuz the, the words are coming fast and furious and boy, if you miss that train or you screw up, oh, it's hard to get back on.Michael Jamin (00:25:18):And I imagine ifRick Negron (00:25:20):You do, everybody does. Everybody, if youMichael Jamin (00:25:21):Do it one too many times, are you looking at unemployment?Rick Negron (00:25:24):Mm-Hmm. ? No. Really? No. Yeah. I mean, nobody does it one too many times. Uhhuh, . I mean, some understudies have more bumps in the road than others. Uhhuh. . But you, you, you know, we give them a lot of grace because being an understudy is really hard. Yeah. And so when somebody's honest and understudy you, everybody has their, their, their side view mm-hmm. just because they, they might be in the wrong spot in a certain moment or cross a little differently than the usual guy. So you just have to have some grace. Don't get upset if they're in the wrong spot. You know, just maybe nudge them a little bit or pull them or, or, or just watch out for them and don't bump into them because, you know, somebody is on. I, because I've understudied so many in so many shows, I have a lot of empathy for, for understudies and swings and, but I, I, I don't, in my experience, and I've been in a ton of shows, I haven't been around somebody who's messed up so much that they've got gotten fired. Usually when somebody's not up for the task creatives know during rehearsals that they're not cutting it. Uhhuh . And then so somebody will get, will get let go. Right. the only other time I, I remember somebody lost their voice and, and took time off and came back and lost their voice again. And it was just a situation where they couldn't do the job. Their voice just, wow. Their voice just couldn't ha hack it. And so, you know, those are tough and difficult moments. They don't happen often, but it happens.Michael Jamin (00:27:09):Wow. Yeah. And now you were also telling me, which I thought was fascinating, is that your character, because he's the king, you were talking, you know, how, how your character has evolved, you playing the same exact part has evolved over, over all these years of you playing it.Rick Negron (00:27:24):Yeah. It's, it's been a gift. I'm, I'm, you know, I've realized early on that theater really is my thing. Even though I did some TV and film when I moved to la I, I didn't, I didn't really love the work. Right. It sort of felt a little bit empty just in the sense that, you know, you sit in a trailer for hours and hours and then you get a couple of rehearsals and you shoot and you're done. And that's it. You know, and it's on, it's out there for posterity and you walk away from the, from the gig going, oh, I could have done this, I could have done that. But in theater, you get to redeem yourself every night. You know, if you screwed up the night before, you, you make it better the next night. And I love that about theater.(00:28:07):And and so for, for me I just get better over time and people say, oh, but don't you get tired eight times a week a year. I don't. I I like to, I like to tell people that it's, it's almost like being a potter. You have the same, you know, square block of clay and you're making that same pot. But every time you're doing something a little bit different and you're learning from the, the, the, yesterday when you made that pot, today you're making the same pot, but you learn something new, you discovered something new, making this pot, it's still the same pot, but you're, you may be doing a little filigree or a little curve here, or a little something different. So every night you get to shape this pot a little bit differently. And that's, for me, that's the, the beauty of it.(00:28:59):That's the challenge. I remember early on with, with this, with this character, I was in rehearsals and the the associate director Patrick Vassell said, you know, Rick, this is interesting. Most guys come in with a really large, over the top take on the king. Mm-Hmm. , you're coming in with a very spare low-key take on it. I mean, we're gonna build you up, which is usually not the case with this character. And build, build him up. Not make him bigger, but just give him more depth. Okay. And that was the rehearsal process for me. And then when I started working with Thomas Kale the, the director of Hamilton right before we opened in Puerto Rico, he said, the trick to this guy is to make him, make him as simple and as small as possible because the king can, with one finger kill a whole community. Right. Know, he just has to say, those people are gone and they're gone. So he doesn't have to do much. He has all this power. So that, that was like the best bit of information for me. And so the challenge is over time is to do less.Michael Jamin (00:30:14):Right. AndRick Negron (00:30:14):Still with all the homework that you've done and the character work that you've done, but do less. And I, and I was telling you this before, that you walk out on stage Yeah. And the audience goes crazy. And, you know, there's all this expectation and sometimes you get suckered in by this adoring audience to do more. Right. But you have to fight that feeling and do less. And that's,Michael Jamin (00:30:38):It sounds like though you got conflicting notes though. No. They directed the eight. Well,Rick Negron (00:30:43):I think because in rehearsal I was still sort of finding my way with him. Uhhuh . And instead of making this broad fabish character, which is how somebody who starts with King George and thinks, oh, I'm just gonna do this and make him big and fabish. Right. that's sort of a two-dimensional view of, of the king. And I came in with a lot of research about the guy and thinking, I, I, I don't wanna make him this two-dimensional caricature. Right. I really wanna make him a, a guy who is number one dangerousMichael Jamin (00:31:21):Uhhuh ,Rick Negron (00:31:21):Who has a lot of power and who, who is feeling jilted, but won't allow you, you can't break up with me. Right. I'm breaking up with you. You know, that kind, that kind of dynamic in this, in the first song specifically. And so I came in with that and he said, that's great. Now we're gonna just work and put more layers on him, but not necessarily make him bigger, but just give him more layers.Michael Jamin (00:31:52):Let me ask you the, because when you're in, when you say, you know, you're the analogy of making a pot, are you going into the performance thinking, I wanna try this today? Or are you so into character you forget and, and somehow it it organically arises?Rick Negron (00:32:10):I try to stay in, in the more organic realm.Michael Jamin (00:32:13):Uhhuh, ,Rick Negron (00:32:14):Because I think that's where the really good stuff is. The stuff that just pops out of you.Michael Jamin (00:32:20):But you can't make that happen. That's the problem. Yeah.Rick Negron (00:32:23):If, if, if I plan somethingMichael Jamin (00:32:26):Mm-Hmm.Rick Negron (00:32:26):, I, I feel like it, it feels fabricated a little bit. Right. And so I, I try not to, but sometimes I'll get a note from, we have a resident director that travels with us, and also sometimes the director or the associate director will show up to whatever city we're in and will watch the show and give us notes and say, you know, in this moment, maybe try this or try that. And so I really pay attention to those notes and I try to implement them, but I try not to I try not to quote unquote fabricate them or, or, or think too much on it. I try to, maybe, maybe the best thing that I can say is I'll tr I'll try on my own four or five different ways to achieve that note. Mm-Hmm. . Okay. I can, I can, I can make it more dangerous in this section if I lean into this word or if I, you know, take a pause or whatever it is. I'll come up with four or five different ways to get the note across and then let whatever which one pops out pops out when it, when I do the performance. So I give myself some choices. So I don't, so I don't get, I don't pigeonhole myself into a specific choice, which then feels fabricated and fake.Michael Jamin (00:33:51):Right. But do you ever get into the part and then n notice, oh, I, I just slipped out of it. I, I'm, I'm, I'm observing myself now. I'm not in the partRick Negron (00:34:00):Happens all the time.Michael Jamin (00:34:02):And what do you do? How do you get back inRick Negron (00:34:04):The words the text will save you for every writer out there. Thank you. Because the text will save you. You have to get back into, into what it is you're saying. When, whenMichael Jamin (00:34:16):You, but the words are in your head that you don't, you're not reading something, they're in your head.Rick Negron (00:34:19):You're in your head, but in your head. I've been doing this so long that I can be in the middle of my performance and going, Hmm. That wasn't good. Right. Like, I'll be criticizing myself while I'm doing it,Michael Jamin (00:34:31):But that's not good. Now you're out of character.Rick Negron (00:34:33):Now I'm out of character. Now I'm in my head. Right. And the first thing that I'll do is I'll, I'll bite something. I'll bite a word or I'll, I'll make a gesture. Or basically I'll snapped my myself out of that.Michael Jamin (00:34:47):Do it.Rick Negron (00:34:48):I guess. I didn't silence my phone.Michael Jamin (00:34:51):That's okay. So,Rick Negron (00:34:52):Interesting enough. That's, that's the resident director of Hamilton just texted me.Michael Jamin (00:34:57):. He can wait. It's not important.Rick Negron (00:34:59):No. She, she, luckily this is she. Yes. Better. Sherry Barber. Amazing director.Michael Jamin (00:35:05):So we that's my next question though. I wanna talk about that. But, so, all right. So you snap so you, you, you get back into it with a physical, something physical, a gesture or something.Rick Negron (00:35:14):Physical or, or, or, or vocal. Yeah. Or some different intention. Yeah. Just mix it up. Right. Mix it up. Yeah. Do something different that, that's gonna get you outta your head.Michael Jamin (00:35:27):Right. I mean, I mean, I would think that we, that way my fear is going up, going up, forgetting, oh, what, what's my line? Line? Oh,Rick Negron (00:35:34):It is, that's every actor's fear. And, and, and if anything keeps me nervous, it's that, it's the fear of, of messing up. But the, and people say, oh, how do you get over being nervous? And I always say, you, how, how do you get to Carnegie Hall? Yeah. Practice, practice, practice. Confidence comes from being, I can sing that song with another song, playing over a loud speaker. That's how well I know that song.Michael Jamin (00:36:04):Really. With another song playing. There'sRick Negron (00:36:05):Another song playing over the loud speaker. And I can sing my song while that song is playing. That's how much in the bones in my cell that song is. See, I just have to, I, I rehearse, rehearse, rehearse, rehearse, rehearse.Michael Jamin (00:36:18):Do you think it's possible to over rehearse?Rick Negron (00:36:21):Yeah.Michael Jamin (00:36:22):Uhhuh. . Yeah.Rick Negron (00:36:24):But I mean, for me, you know, every actor's different. For me, my comfort, what gives me my comfort zone is, and, and gives me confidence, is feeling like I, I know this inside out, left, right. I, I know ev Yeah, I know this. I got this Uhhuh . That's how I getMichael Jamin (00:36:46):There. But, but you don't feel that way in opening night cuz you haven't done it 900Rick Negron (00:36:49):Times. No, no, no. You haven't done it 900 times. So you just, you you, I go back to my yoga and I, I I do some deep breathing mm-hmm. and I try to focus on the intentions of the character. What is he trying to do?Michael Jamin (00:37:05):Do you, do you sometimes kick yourself? Like, do you feel like, oh, I wasn't in the Tonight Show. I was, I tried. I wasn't in it. I wasn't in it. OhRick Negron (00:37:14):Yeah. I walked out, I walk off stage sometimes and go, Ooh, that was terrible. Or whatev, you know, I'm, I'm my worst critic. Right. And sometimes I walk away and go, oh, that was good.Michael Jamin (00:37:26):Right. Because you're justRick Negron (00:37:27):Lost. I don't pat myself on the back as often as I should. Uhhuh , I'm usually more critical of myself. And, you know, and now I try, I try to not beat myself up as much as I used to. I try to be a little kinder to myself, but yeah, I totally walk away sometimes going, oh, that was, that was not your best.Michael Jamin (00:37:46): . And, and so these, these directors, like, what do they, what's their job? Because they didn't direct the show. The show has been choreographed. It's been directed. Now they're just jo they're just there every night to make sure it doesn't go off the rails.Rick Negron (00:37:59):Yeah. PrettyMichael Jamin (00:38:00):Much tune things.Rick Negron (00:38:01):Yeah. And the really good ones, like, like sh like our our resident director Sherry they're there to keep it fresh. And so she's constantly feeding you ideas. Hey, what, what if we do this? What if we do that? How about, how about, you know, and, and that's, she, she's great at bringing new ideas to something that we've been doing for four years,Michael Jamin (00:38:27):But I'm not sure how much I would wanna hear that if I were you. Like, you know what I'm saying? Like, oh, I love it. This is what I You love that.Rick Negron (00:38:34):I love it. I love trying new stuff. I love messing about with that pot that I'm creating. Oh, what about, why, why don't you do a lip on, on, on the top? Oh, yeah, yeah. Do it. We'll curl out the lip on the top. I've never done that before. Right. Why don't we do that? You know, I did something a few months ago at the end of the song, the song I famously go, famously I should say the, the king famous famously says, and no, don't change the subject. And he points at somebody in the audience and he gets, he, it's a rare moment where he gets upset. Uhhuh . And that's, and, and if you've seen the Disney Plus, Jonathan Gruff famously just spits all over the place. It just is, it's, it's an explosion of saliva. And it's, it's a brilliant moment. I think. I think his take on the king is, is wonderful and he sings it so well. And and I usually point, they want you to usually point in sort of the same area of the, you can point anywhere, but they, they usually take point over here. And I always point over there, and one night, man, this is maybe about four or five months ago, one night at the end of the song, I went, I went,Michael Jamin (00:39:45):I'm watching youRick Negron (00:39:46):Uhhuh . Like, I pointed to my eyes and I pointed to that person who I had pointed to earlier in the song. And no, don't change the subject as if that's my one nemesis in the room. And I'm just saying, I'm watching you . And it got such a reaction, right. That I kept it, it's been my new little bit until I, until I decide I don't want to, or until, you know, the associate director walks in and goes, you know what? I don't like that thing that you do at the end, cut it. And I'm like, okay, it's gone. Right. Well, think of something else. You know, unless there, there's always, there's always something right. That I can think of. And that's, that's the fun part that I can always improve it, I can always make it better. I can always have fun with it.Michael Jamin (00:40:29):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Michael Jamin (00:40:53):I'm surprised you, I mean, I, I would wa I'm curious like, but you allowing yourself to watch, you know, Jonathan Grots version as opposed, you know, is that, are you, do you, you know, what's that like, you know, cause character yoursRick Negron (00:41:08):Now. Yeah. I saw him do it originally on Broadway when I saw the show in previews. And then of course I saw him do the Disney Plus version. And then when we were in rehearsals in 2018 for our company, we were the third national tour to go out when we were in rehearsals, they said, oh, you you know, you can go stand back in the, at the back of the house at the Richard Rogers and watch the Broadway company. And at that point, the king was Ian I'm forgetting Ian's last name, but he's, I think he's still the king right now. He's been there for a long time. He's brilliant. Uhhuh as the king. And I watched him play the King while I'm in rehearsals for the King. Right. And for me, I wish I could see all the kings really? Because really they all do something different. And, and you, and, and the stuff that's really good. You wanna steal it, man. You wanna, but can you, I mean, love that,Michael Jamin (00:42:00):But can youRick Negron (00:42:00):Take it from the best baby steal from theMichael Jamin (00:42:02):Best stuff from the best.Rick Negron (00:42:04):Interesting. Yes. I mean, you gotta make it your own. You can't do the exact same thing. Right. But, but it, for me, it feeds me as an actor. I'm like, oh, what a cool idea. I should, I can do a version of that or Right. Or so. Oh, that makes me think of something else. You know, I, I I, yeah. I I love it. DoMichael Jamin (00:42:20):You get together and talk with the other kings at all? Yeah.Rick Negron (00:42:23):I've met the king that's on on Zoom, actually. I haven't met him in person, but the guy Peter Matthews who, who does the Angelica tour and he's been doing it for a while. Most of the Kings. It's a, it's a nice gig. So yeah, you stick around right. As long as you, you know, want to, or as long as they'll have you. Right. And Hamilton's been really great about, you know, letting us stay. But Peter Peter's really a funny guy and I haven't gotten to see his king because obviously I'm doing it at another part of the country while he's doing it. But I would love to see him play the King. Really. yeah. And Rory O'Malley, who played it here in la, he did the first national, he I think Tony Winter for book of Mormon. Fantastic guy. I met him in San Francisco when he came to see our company. I'd love to see his cane cuz he's a great singer and, you know, everybody's got their, their their take on him. And I, I find it fascinating to see what somebody does with, with this character.Michael Jamin (00:43:25):Right. Cuz there's so much, there's so much. Yeah. That's so much how much constantly reinvented fun,Rick Negron (00:43:29):Fun role and,Michael Jamin (00:43:30):But by still, but you still gotta remain true to what the words are and what the intention of the words. But it still can be interpreted while still being true to thoseRick Negron (00:43:38):Words. Which, which is the beauty of, of, of, of Hamilton and, and I give a lot of credit to the creative team, is that yes, you have to sing the words and sing the melody, but you get a lot of creative license to, to make it your own Uhhuh . And so if you see our company of Hamilton and then you see the Broadway company of Hamilton, it's almost like two different shows. Right. It's the same show. But because you have different actors in those roles, it's pretty remarkable the difference in the companies.Michael Jamin (00:44:10):And tell me a little bit more about some of the other Broadway and traveling, because you've had such a resume, man, such a resume.Rick Negron (00:44:17):. Well, you know, I, I started back in the eighties as a, as a Chorus Boy and, and doing some really cool shows. Man La Mancha, the Goodbye Girl, theMichael Jamin (00:44:27):GoodbyeRick Negron (00:44:27):Girl leader of the Pack. I, I did, I did In The Heights on Broadway Right. For a couple of years. That's when I, I actually did a workshop of In the Heights in 2005 with Li Manuel Miranda and the whole gang, and I got to meet them back then. So they've been good loyal friends since then. Yeah. And, and have kept me employed for many years. I hand, you know, hats off to them . Oh, I do have hair by the way, but it was kinda messy. So I put on my, my hat. YouMichael Jamin (00:44:58):Could have worn your wig, your powdered wigRick Negron (00:45:01):. Oh yeah. IMichael Jamin (00:45:02):Used to wear, Hey, I'm always in characterRick Negron (00:45:04):. Yeah, A actually I have I'm, I have a few weeks off right now, which is why I'm home in la Right. Because we just did Hawaii and, and the show had to pack up and, and be put on the ship to come back to the us So they shipped, the show changed and that's how we, how it got to Puerto Rico too, which is why it makes it kind of difficult to send those shows to the, the Islandss because they have to ship it.Michael Jamin (00:45:29):But even still, how long does it take to set up for them to build, you know, build the set?Rick Negron (00:45:36):Well the shipping of it took a, takes about two weeks.Michael Jamin (00:45:40):All right. But once you're,Rick Negron (00:45:41):But then once it all gets there, our crew can, can put the set up in day and a half.Michael Jamin (00:45:47):Wow. Okay.Rick Negron (00:45:48):It's, it's like, it's all been carefully crafted. It's like Lincoln Logs, everything fits together, butMichael Jamin (00:45:54):Stages are different sizes. That's what I don't understand.Rick Negron (00:45:57):Well, they ahead of time, the, the production management and, and, and, and company management, they sit together and they go, okay, these are the cities that we're doing, which is the smallest theater we're in Uhhuh , that, those are our dimensions. We can't, we can't get bigger than that.Michael Jamin (00:46:15):But you can put a smaller on a bigger, on a stage, you can put a small,Rick Negron (00:46:19):Yeah, yeah. And the show, I mean, the show was made for the Richard Rogers, which is a pretty small theater. I mean, it's an old 1920s Broadway theater, Uhhuh , that seats about 1300. So it's pretty small. And the stage backstage is kind of small too. So most of the theaters that we do on, that we go to on the road are much bigger than the Richer Rogers. Okay. So they just, you know, they just do black baffling on the sides and just make it more of a letter box. And it works. It works. As long as we're not in a place that's smaller than our set. And some shows have what they call a jump set, which means that while we're in one city, we have a, a second set that goes to the next city and gets built. And so that we close in, in Boise on a Sunday and we open in Salt Lake City on a, on a Tuesday, you know, but let's say one day.Michael Jamin (00:47:13):But let's say that you're doing a dance number and the stage is this big and your's, the dancer, you know. Okay. Six pace steps to get my next mark on a bigger stage. It's, isn't it more steps or No,Rick Negron (00:47:23):No, no, because you're, you're, regardless of the size of the stage you are set. It remains the same.Michael Jamin (00:47:30):Okay. So no one will go out of that.Rick Negron (00:47:32):Yeah, no. Yeah. We'll, we'll we'll never stretch it. Right. The set itself never gets stretched. If anything, the, the theater will come in with, with black you know what the, what they call the legs, those are, you know, a break a leg comes fromMichael Jamin (00:47:48):No,Rick Negron (00:47:48):Literally they, you know, break a leg is good luck. But it literally means the legs are those black drapes that come down in the front and also in each wing.Michael Jamin (00:47:59):Okay. SoRick Negron (00:47:59):When you, when you, when you go on stage, sometimes you have to move that drapery to get on stage or to, if you're gonna go in front of the, the, the in front of the curtain, you, you, you move it with your arm, you break the leg.Michael Jamin (00:48:15):So you're not, so you're not literally break. Okay. So you're,Rick Negron (00:48:18):You're not literally breaking the leg, you're not breaking anything. Parting, parting the drapery to go on stage.Michael Jamin (00:48:23):Oh. So this is very interesting. This is gonna be, yeah.Rick Negron (00:48:25):Yeah. It's a little theater trivia for Yeah. The, the folks out there.Michael Jamin (00:48:30):Fascinating. Now. Okay, so on a regular day, you go to a town, your new, your your new city or whatever, and they give you a per diem to Yeah. Goodbye lunch and get out apartmentRick Negron (00:48:42):Diem. The union sets a weekly per diem. And that is for you to spend as you wish. Uhhuh, . And then also company management way ahead of time will say we have three or four different hotels that we've negotiated a special deal for and choose which one you want to stay in. And these are the prices and these are the amenities and people choose from that list of hotels. But a lot of people nowadays are doing Airbnb, especially on a tour where you sit in a city for four weeks, five weeks, six weeks. The shortest stays we've ever had have been two weeks. But we've, we've done six weeks. And so a lot of people do Airbnbs cuz you have a kitchen and you have a washer dryer and more, you know. But isMichael Jamin (00:49:26):It, is staying in a hotel more fun? Is that dorm living, is that more fun for the cast?Rick Negron (00:49:31):Some, no, I don't think it's more fun for them. Some stay in the hotel cuz it'll be right next to the theater. And that's convenient. Yeah. Especially if we are in Denver and it's seven degrees outside. Being, you know, li living right near the theater is really cool when it's, when the weather's bad. But most people, a lot of people nowadays, they're getting Airbnbs and they're rooming together. So three or four people can get a really cool house.Michael Jamin (00:49:57):But I'm picturing Rick Negron (00:50:00):And, and they save money because they're rooming together. Right. So, you know, the rent, their ability to pay rent, I mean now they can use their per diem to live on, not just for their place to stay. They canMichael Jamin (00:50:12):Have you shared, have you shared apartments or No. Does the king, does the king have his own place now?Rick Negron (00:50:16):, I'm too old to have roommates. You're tooMichael Jamin (00:50:18):That crap.Rick Negron (00:50:18):I had roommates in my twenties and thirties. I'm done. But the only roommate I have is my wife. And CauseMichael Jamin (00:50:24):You're right.Rick Negron (00:50:24):But she's not really my roommate. SoMichael Jamin (00:50:26):My like, my naive opinion of what it must be like is like in high school when you're in the play it's like, you know, or even at a high school, you know, community, you are like, Hey, it's the, we're all the, it's the group, we're the gang, we're doing everything together. But once you become a pro, that's not the way it is. Huh? It's not likeRick Negron (00:50:45):It is at first it is, it's the honeymoon phaseMichael Jamin (00:50:49):Real. Okay. Where you're like hanging out togetherRick Negron (00:50:51):Where we all just meet and Oh, I know that person. We did a show together a long time ago. And so we become a little bit of a clique and then the, the cliques start happening early on. But we're one big happy family. Right. And we have opening night parties and you know, and all that occurs early on. But then the clicks really start creating Right. You know, the, the peop certain people start to hang out together. We had the, an our, our company's called an Peggy cuz each separate tour has a different name. There's the Angelica tour, the Philip Tour. These are characters in the show. Right. And Peggy is the third Skylar sister. So we became the third company. So we are called the An Peggy tour and we're, and there's a group of us we're called the, an Peggy Alpine Club. And literally, literally a bunch of us who like to hike and, and do outdoorsy stuff. We went snowboarding and skiing a lot in the winter. We, a lot of us got scuba cert certified for our Hawaii stay. Wow. And we've done incredible hikes all over the place. So that's our little clique. But also, you know, people that have, are married and right on tour together or have ki there's a few people that have kids on tour. They get together a lot.Michael Jamin (00:52:07):So and they bring their fam, they bring their kids on onto tour with them.Rick Negron (00:52:10):Yes. There's some people that do that. Yes. But some, some, someMichael Jamin (00:52:16):Like little kids are like high school age. Like you can't be like a high school-aged kid.Rick Negron (00:52:20):No. Most, most of 'em have young kids. You gotta understand. I, I'm working with a bunch of 20 and 30 year olds. Right. And I'm the oldest guy by far in, in, in, in, in the, in the company.Michael Jamin (00:52:30):What's that like being the oldest guy in the company?Rick Negron (00:52:33):Oh, I love it. Love. I used to be the youngest guy then I was, you know, in the same age as everybody. I love it because I as a king too. I, I have plenty of time to sort of mentor everybody. Yeah. And so I've become a little bit of, I, I'm the cheerleader. I check in on everyone and say, how you doing? I'm, I used to be a ma massage, massage therapist. So a anytime peop people are having issues. I, I'm close friends with our, our physical therapist that tours with us. So we work on people sometimes together in tandem.Michael Jamin (00:53:03):What is it they're worried? What is it they want mentoring at the, the career strategy? Like what, youRick Negron (00:53:08):Know, that this career strategy, sometimes it's just dealing with personalities in theater sometimes there's some, some headbutting. Um-Huh. sometimes people are just having problems with a, a particular, an understudies having a problem with a new character that they're understudying or, you know, there's issues on stage with somebody who doesn't quite know where they're supposed to stand at a certain point. Right. And all that is internal stuff that should be worked out with the dance captains and the stage management and, and the resident director. But you know, unfortunately, actors, you know, we have huge egos and, and they're also very fragile egos. And so there's a, a, a bit of nuance involved and people get their, their panties in a twist. And I'm, I'm usually the guy that comes around and, and talks people off the ledge sometimes. AndMichael Jamin (00:54:02):I would imagine we be very hard even, especially for the new guy or the new woman coming in, youRick Negron (00:54:06):Know? Yeah. And I, I I, I, I tend to be the welcome wagon too. Right. You're the new ones. Come on, I'm the king. You know, I'll show you the ropes.Michael Jamin (00:54:13):Wow.Rick Negron (00:54:14):So, so that's, I, I like taking that mantle, not just because I'm the king, but also because I'm sort of the senior member of the Right. And I've been around the block and people have asked me, you know, I'm sick and tired of show business. I want to do something else. And I'm like, you know, that's, I hear that I've, I've had that conversation many, many times in my career.Michael Jamin (00:54:34):Interesting. So why, yeah. I would think, see, right, you've made the touring company of Hamilton, it's pretty much the peak, you know, like, you know, forRick Negron (00:54:41):A lot of 'em want to do Broadway. So they're, you know, they're still focused on doing that Broadway show. And some of them have done Broadway, have done the tour, and, you know, they wanna settle down and meet somebody and have a Right.Michael Jamin (00:54:53):So they want to, is that, is that what the problem is? They, you know, they're done with the business. What, what's the problem?Rick Negron (00:55:00):Well, I mean, you know, you, we've got the new kids who are just starting out who wanna know about, you know, how do I get my, my foot in Broadway? You know, and there's those kids, and then they're the ones that have been around for a while who wanna maybe transition out of, out of the business and, and want some there was one girl who was interested in massage therapy. Oh, wow. And I said, you wanna become ao? Okay. Well, this is what you need to do. And matter of fact the union has something called what is it called? Career Transition for Dancers, which is a, a, a program where you can get grants to do some further education. So if you wanna learn how to be a massage coach, wow. Get a grant through the union. And, you know, I know some of this stuff so I can impart some of that knowledge. And for the young kids who, you know, I wanna get on Broadway, I'm like, okay, well, to get on Broadway, you have to be in New York. And while you're on tour, you know, can't do that. It's hard to get into that audition for that Broadway show. ButMichael Jamin (00:55:57):Are you still in those circles? I mean, it seems like you, I don't know. It seems like you must know. I don't know. You're, I, I guess I'm completely wrong. If you were you know, a dancer on the touring company, Hamilton seems like it wouldn't be that hard to, to find out about an audition on Broadway. And certainly wouldn't be that hard to get a job, because you're obviously really good.Rick Negron (00:56:18):Yeah. and we've had a few people leave our tour to go do a Broadway, Broadway show. I mean, actually, we just lost like two or three people to, one Girl is doing Bad Cinderella. She left our show to Do Bad Cinderella, which is a new Broadway show, a new Andrew League Webber show. Mm-Hmm. . Another guy just left our show to do the, the Candor Nbb, New York, New York that's opening on Broadway soon. So that does happen luckily with the advent of auditioning remotely via video that's helped things out a lot nowadays, so that if you're in Portland on tour, you can send in an audition via video for something back in New York.Michael Jamin (00:57:02):Even dancing. You can, like, you pull the camera back and you do some dance steps. I mean,Rick Negron (00:57:06):Is that what you do? Yeah. Or sing a song or, or, or, or read a scene. Okay. depending on what's needed. And sometimes you, you are able to take a personal day and fly back to New York and audition for something. Right? Yeah. Michael Jamin (00:57:23):Cause I would think, and I, I don't know. Obviously, I don't know it, I would think that if you're in Ham, the touring company of Hamilton, you're practically on Broadway and it's like, it's almost the same circles, except this is where the job is, you know?Rick Negron (00:57:34):True. But if you've been on tour for a year, you'd like to settle down and stop living out of a suitcase. I It'sMichael Jamin (00:57:39):Hard to be on the road.Rick Negron (00:57:40):Yeah. Or you've been doing Hamilton for a while and you just wanna do something different. Yeah. There's those, those kids, you know, they're hungry, they wanna do different stuff. Yeah. They don't wanna be on tour on Hamilton for four years like I have, but I've done a lot of stuff andMichael Jamin (00:57:53):Yeah. What, let's talk about what other, what, yeah, let's talk about some other, we, we, I think we got off track of your other Broadway shows and, and Off Broadway and not touring shows, rather.Rick Negron (00:58:01):Well, you know, I started, I started out young in the biz at 10 cuz my mom was a drama teacher. And then I sort of worked my way through community theater and children's theater and all that. And, and then I was a concert dancer in college and studied for who? Well, I, in college I studied modern dance in, in ballet. But when I got outta college, I, I was an

A transcript of this episode is available here: https://thedanceedit.com/transcript-episode-133Visit/add to the Dance Media Events Calendar: https://dancemediacalendar.com/Get the latest dance news direct by subscribing to our free newsletters. Find the ones that match your interests: http://www.dancemagazine.com/subscribeLinks referenced in/relevant to episode 133:-New York Times story on gender discrimination suit against Paul Taylor Dance Company: https://www.nytimes.com/2022/11/03/arts/dance/paul-taylor-dance-company-lawsuit.html-The Times review of Jennifer Homans' "Mr. B": https://www.thetimes.co.uk/article/mr-b-by-jennifer-homans-the-cruel-genius-of-george-balanchine-fd6dtrwd2-New York Times review of "Mr. B": https://www.nytimes.com/2022/10/31/books/jennifer-homans-george-balanchine.html-NYU interview with Homans: https://www.nyu.edu/about/news-publications/news/2022/november/was-choreographer-george-balanchine-ahead-of-his-time-or-of-it-.html-Dance Data Project's study on artistic and executive director compensation: https://www.dancedataproject.com/wp-content/uploads/2022/11/Artistic-Director_Executive-Director-Compensation-Data-Byte.pdf-Stuff coverage of the resignation of Royal New Zealand Ballet's executive director: https://www.stuff.co.nz/entertainment/arts/130337207/royal-new-zealand-ballet-executive-director-lester-mcgrath-quits-Pointe interview with Mikhail Baryshnikov: https://pointemagazine.com/mikhail-baryshnikov/-The Guardian interview with Baryshnikov: https://www.theguardian.com/stage/2022/nov/07/mikhail-baryshnikov-ballet-dancer

Part One: My first time having sex with a woman was on my wedding night and it was her first time too. We were virgins. We knew nothing. My pastor gave me a book to break it down. I tell this story as if I am at a Stand-Up comedy club open mic. Part Two: Seeing the Paul Taylor Dance Company today brought back a flood of memories from when I first saw them in NYC in the late 1980's. At that time I was deep into gay conversion therapy trying to become straight. What would have happened if I didn't go down that path? Part Three: A Sound slice of audio recorded in my study in Sunbury Pennsylvania. My husband and I live in a renovated passenger railroad station that was designed in the late 1880's by famed architect, Frank Furness. I heard it was the first railroad station to be lit by electrification, set up by Thomas Edison and his crew. Music: The Bubble & Squeak Theme song is Worthless by The jellyrox from the Bang and whimper album. You also heard Know Your Lies by Water Mirrors and I Will Remember Everything Forever by Ave Air. Both are available on EpidemicSound.com

In this episode Dr. Daniel Correa talks with professional dancers, Madelyn Ho and Jake Vincent of the Paul Taylor Dance Company in New York City. Madelyn and Jake share their experiences of managing the challenges that come with a career that is physically demanding and the steps they take to maintain optimal brain health. Next, Dr. Correa speaks to Dr. Jeffrey Kutcher, sports neurologist and founder of the Kutcher Clinic. Dr. Kutcher discusses how he helps athletes with recovery and explains the diagnosis and management of concussions and traumatic brain injuries.   Additional Resources:    https://www.brainandlife.org/articles/physical-activity-is-important-for-people-with-neurologic-conditions-but  https://www.brainandlife.org/disorders-a-z/disorders/traumatic-brain-injury  https://paultaylordance.org/   Social Media:    Guest: @paultaylordance (Instagram and Twitter)  Hosts: Dr. Daniel Correa @NeuroDrCorrea; Dr. Audrey Nath @AudreyNathMDPhD

This episode is also available as a blog post: https://thecitylife.org/2022/10/18/paul-taylor-dance-company-returns-to-lincoln-center-november-1-13-2022-with-innovative-programs-showcasing-a-new-era-for-the-company/ --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

This week, with the help of Ming Chen of A Shared Universe PodcaStudio, we talk to Michael Trusnovec, one of the co-founders of the sold out Asbury Park Dance Festival, which will be celebrating its third successful year on October 1. We talk to Michael about about his life in dance, and his journey from Long Island to the Paul Taylor Dance Company, with additional stops at the New York City Ballet, the Joyce Theater, the Metropolitan Opera and now Asbury Park.

Michael Novak, Artistic Director, & Jessica Ferretti, member of the dance troupe, speaking about The Paul Taylor Dance Company performing at the Weis Center of Bucknell University in Lewisburg featuring three of Taylor's well-known works on Sept. 16, 2022 at 7:30 pm. They spoke with WVIA's Larry Vojtko. www.bucknell.edu/weiscenter

A transcript of this episode is available here: https://thedanceedit.com/transcript-janet-eilber-michael-novak/Martha Graham Dance Company website: https://marthagraham.org/MGDC social accounts:https://www.instagram.com/marthagrahamdance/https://twitter.com/marthagrahamPaul Taylor Dance Company website: https://paultaylordance.org/PTDC social accounts:https://www.instagram.com/paultaylordance/https://twitter.com/paultaylordanceDance Magazine cover story on PTDC: https://www.dancemagazine.com/paul-taylor-dance-company-6/The Kennedy Center website: https://www.kennedy-center.org/TKC social accounts:https://www.instagram.com/kennedycenter/https://twitter.com/kencen

When you don't have the answers from trusted sources, or the answers seem to conflict, you often turn to Dr. Google and social media for advice. But when it comes to pregnancy and postpartum, everyone's journey from conception to menopause is so unique. Instead, we can draw from ancient cultures that often have almost the same advice: trust your intuition and evidence based research (what tends to work!). That's exactly what we do on this show with Dr. Patricia Ladis, PT, CBBA, a licensed physical therapist and author of Wise Woman's Guide to Your Healthiest Pregnancy & Birth. Patricia's mission is to guide patients toward a pain free existence as they seek a lifestyle of optimal health and physical wellbeing. A former professional dancer herself, Patricia has been helping pregnant dancers and athletes get back on stage or sport after pregnancy since 1999. She has worked with the Rockettes, various Broadway shows including Fosse, Lion King and Movin' Out, the American Ballet Theatre and Paul Taylor Dance Company and currently consults with the USTA and WTA. Always an advocate for women's health, Patricia is building a new protocol for women returning to sport after pregnancy (WTA, IOC) and has designed the exercise program for the first-ever postpartum exercise study coming out in 2021 with the Hospital for Special Surgery and the Weill Cornell Medical Center. As an active delegate of the Global Wellness Summit and chair of the First 1000 Days Initiative for the Global Wellness Institute, Ladis has support from wellness centers around the world. As a mother of three, Patricia also understands the demands of everyday life and aims to help her patients achieve a balance in their body. She has had all 3 births (natural vaginal birth without medication, C-section and VBAC). She connects with her perinatal patients to help them have a pain free pregnancy and embrace this time in their life with confidence and happiness. Get her book Wise Woman's Guide to Your Healthiest Pregnancy & Birth! We are happy to have her as a returning guest on the show, so tune into her first episode on Fit As A Fiddle for advice on Pregnancy & Birth!Connect with her:PatriciaLadis.com

Most of the guests I have on here are seasoned vets, so it was a breath of fresh air to welcome Tal Kamin as a super inspiring representative of GEN Z. This woman is barely out of college and already established a non-profit organization spanning 20 college chapters across America. I also align greatly with her philosophies and approach to building community and development for the dance community. THIS makes me hopeful for our future. MNTR MGMTWebsite@mntr.mgmt@justinementerTal KaminWebsiteWe are Queens@wearequeens_joinusTal Ayala Kamin is a 21-year old artist and entrepreneur, committed to empowering herself and others to celebrate life. Born in Israel, she moved to New Jersey at 7 years old and spent her teen years training at Broadway Dance Center's Children and Teen Program alongside intensives with Alvin Ailey American Dance Theatre, Paul Taylor Dance Company, The Rockettes, and Batsheva Dance. At 15, she began dancing professionally with freelance modern companies and leading the marketing teams of start-up firms. She is currently a Senior at the University of Michigan, pursuing a dual degree in Dance and Economics. In 2019, Tal founded We Are Queens, a 501(c)3 nonprofit organization focused on empowering college-aged dancers on 20+ campus chapters towards sustainable trajectories through community-building, leadership training, and professional development. She is ecstatic to intersect her passions for art and business to spark change, bring people together, and spread positivity.

Taking the 'Ick' out of the 'Ask' with Funding Professional Kel Haney Kel Haney is an NYC & Maine-based fundraising expert with 15 years of experience in the field, specializing in Outbound Fundraising. She's a Senior Consultant at Donorly. Her work boils down to “taking the ick out of the ask." “She believes that we can create fundraising conversations that are relationship-building opportunities, as opposed to transactional encounters. Kel's worked with such companies as MCC Theatre, Signature Theatre, Ensemble Studio Theatre, Manhattan Theatre Club, The O'Neill Theater Center, New York Theatre Workshop, Page 73 Productions, BroadwayUnlocked, The Glimmerglass Festival, and Paul Taylor Dance Company. She spent twenty years as a theater director and her fundraising methodology is based on how she led a rehearsal room: focusing on what makes each of us unique and engaging. Kel empowers artists, art administrators, & board members with the knowledge that they already possess the most critical tools needed to be skilled fundraisers (empathy, candor, vulnerability, enthusiasm, and storytelling). Over her fundraising career, Kel has helped arts organizations raise approx. $10M, primarily in donations under $1.5K. Learn more about your ad choices. Visit megaphone.fm/adchoices

Communication and influence go far beyond the spoken word. How we enter a room, our posture, eye contact, and more, are powerful tools. Michael Apuzzo of the Paul Taylor Dance Company shares what he learned as a performer -- and what business leaders can harness to command a situation.

This week Jess and Joe had the pleasure of sitting down with Michael Novak, Artistic Director of the Paul Taylor Dance Company. Having taken over the company in 2018, Novak has had the incredible responsibility of navigating them through the pandemic. They've embraced technology and used it to connect with communities all over the globe, all while staying in touch with their past and the roots of modern dance. Learn more about the Paul Taylor Dance Company: https://paultaylordance.org/ And follow them on Instagram: https://www.instagram.com/paultaylordance/ Leave us a review on Apple Podcasts: https://podcasts.apple.com/us/podcast/techtheatre-clubhouse-conversations/id1574212248 Get into Clubhouse and our club in one quick click: http://bit.ly/BroadwayUnlockedCH We want to know what you think! Add to the conversation on Twitter with #TechTheatreCH, and join our weekly show, every Tuesday at 1pm Eastern on Clubhouse!

Back in September, Broadway Unlocked had the honor of filming at the Oculus with Paul Taylor Dance Company as they gifted a performance of Promethean Fire to the city and the people of New York. After the shoot, Jess and Joe sat down to share their experiences as director and set PA, respectively. It was a long, wild day that resulted in a beautiful film and some great stories. We hope you join us for the virutal benefit, Modern is Now: Illumination, on November 18 at 8pm EST to watch the performance. Click here for more information about the benefit and to grab your free ticket: https://paultaylordance.org/virtual-benefit/ Leave us a review on Apple Podcasts: https://podcasts.apple.com/us/podcast/techtheatre-clubhouse-conversations/id1574212248 Get into Clubhouse and our club in one quick click: http://bit.ly/BroadwayUnlockedCH We want to know what you think! Add to the conversation on Twitter with #TechTheatreCH, and join our weekly show, every Tuesday at 12:55 Eastern on Clubhouse!

Host Luisa Lyons chats with Sarah Ellis & Greg Kamp, co-founders of MT Shorts. We chat about the creation of MT Shorts, working with Emmy nominated producer & director Kenneth Ferrone, the personal stories behind Jump, the creation of High School Zoomsical during the early days of the pandemic, and more! Includes an exclusive preview to “All of These Goodbyes” from new short Still Here!  Song CreditsMT Shorts Presents “A Jingle”Music & lyrics: Nat Zegree & Eric Holmes; Arrangements & vocals: Jim Hogan; Vocals: Joey Harrell, Samantha Littleford, Sean Switzer“All of These Goodbyes” from MT Shorts  STILL HEREMusic: Ben Roseberry; Music & lyrics: Ben Roseberry and Chip Klose; Performer: Nathaniel StampleyMT Shorts is a creative platform where musical theatre and short film meet, forging a new medium of storytelling with a mission to bring the voices of an emerging generation of creatives to screen. www.mtshorts.com. Instagram, Facebook, YouTube. Sarah Ellis is an NYC-based actor, concert artist, creator and producer with a passion for community building across the visual and performing arts. Her professional credits span across theatre, film, dance, commercial, and symphony work, NYC new works readings and labs, regionally, including the First National Tour of the Tony-Award Winning “A Gentleman's Guide to Love and Murder," and as a frequent guest artist with the Dubuque Symphony Orchestra. She holds a BFA in Musical Theatre from Penn State University where she received the Margaret “Peg” French Undergraduate Award in Theatre. www.meetsarahellis.com. @sarahruthlissGreg Kamp is a performer and producer whose career has spanned stage, screen, and concert venues across the country and internationally. Stage appearances have included the Tony Award Winning Center Theatre Group and Alliance Theatre, Lincoln Center's Avery Fisher Hall, Pittsburgh Civic Light Opera, York Theatre, Feinstein's 54 Below, and The Cincinnati Pops as well as Lifetime, FOX, NBC, and Cartoon Network on the small screen. As a producer, Greg has worked with names and companies such as Rosie O'Donnell, Sara Bareilles, Paul Taylor Dance Company, as well as MT Shorts, the production company for which he Co-Founded. www.gregkamp.com Filmed Live Musicals is the most comprehensive online searchable database for musicals that have been filmed live on stage. Visit www.filmedlivemusicals.com to learn more. Follow us on Facebook and Twitter. You can also support the site at Patreon. Patrons get early access to content, no matter how much you pledge. Filmed Live Musicals is created by Luisa Lyons. Luisa is an Australian actor, writer, and musician. She holds a Masters in Music Theatre from London's Royal Central School of Speech and Drama and now lives, works, and plays in New York. Learn more at www.luisalyons.com or follow on Twitter, Instagram, and Facebook. Rate this podcast!

Miguel Armaza is joined by Doug Peterson, President and CEO of S&P Global (NYSE: SPGI), one of the largest companies in the US that specializes in providing ratings, benchmarks, analytics and data to the capital and commodity markets worldwide. Prior to S&P, Doug held multiple leadership positions at Citigroup, including roles around the world as CEO of Citi Japan, Uruguay, and Costa Rica. He is also a proud alumni of our very own, Wharton School! In this episode, we talk about: - Doug’s journey, from childhood in New Mexico, to international student in South America, to global corporate leader. - The important role that Wharton had on his career and how it sparked his love for Finance - Why S&P Global is focusing on data analytics and artificial intelligence and how it has built a fintech portfolio around these topics - The rise of Environmental, Social, and Governance factors in capital markets around the world, particularly over the last year - Leadership advice and Doug’s approach to managing an organization with tens of thousands of professionals - The important difference between visiting and actually living in a new place and why he actively pursued an international career from early on - And a whole lot more... Douglas L. Peterson Doug Peterson has served as President, Chief Executive Officer and a member of the Board of Directors of S&P Global since 2013. He joined the Company in 2011 as President of Standard & Poor’s Ratings Services. Mr. Peterson has repositioned S&P Global to power the global capital and commodity markets of the future with transparent, innovative and independent credit ratings, benchmarks, analytics and data. His long-term business strategy for S&P Global focuses on six key priorities essential to the Company’s ongoing growth and success: global expansion, customer orientation, technology, innovation, operational excellence and people. Previously, Mr. Peterson was the Chief Operating Officer of Citibank, N.A., Citigroup’s principal banking entity that operates in more than 100 countries. Mr. Peterson was with Citigroup for 26 years. His prior roles include CEO of Citigroup Japan, Chief Auditor of Citigroup, Country Manager for Uruguay, and earlier he served as Country Manager for Costa Rica. Mr. Peterson is a member of the Boards of Directors of Business Roundtable, the Japan Society, the National Bureau of Economic Research, and is a member of the Council on Foreign Relations, the New York Stock Exchange Board Advisory Council and the U.S.-India CEO Forum. He is co-chair of the World Economic Forum’s Stewardship Board of the Platform for Shaping the Future of Cities, Infrastructure and Urban Services. In addition, he serves on the Advisory Boards of the Federal Deposit Insurance Corporation’s Systemic Resolution Advisory Committee, the US-China Business Council and the Kravis Leadership Institute, and the Boards of Trustees of Claremont McKenna College and the Paul Taylor Dance Company. Mr. Peterson received an MBA from the Wharton School at the University of Pennsylvania and an undergraduate degree from Claremont McKenna College. About S&P Global S&P Global (NYSE: SPGI) is the world's foremost provider of credit ratings, benchmarks and analytics in the global capital and commodity markets, offering ESG solutions, deep data and insights on critical economic, market and business factors. We've been providing essential intelligence that unlocks opportunity, fosters growth and accelerates progress for more than 160 years. Our divisions include S&P Global Ratings, S&P Global Market Intelligence, S&P Dow Jones Indices and S&P Global Platts. For more information, visit www.spglobal.com. For more FinTech insights, follow us below: Medium: medium.com/wharton-fintech WFT Twitter: twitter.com/whartonfintech Miguel's Twitter: twitter.com/MiguelArmaza Miguel's Substack: https://bit.ly/3jWIpqp

Created in response to the pandemic, ViVa marks the first collaboration between two giants in the dance world, the Miami City Ballet and the Paul Taylor Dance Company. Choreographed by Amy Hall Garner, ViVa was choreographed remotely and filmed in two different cities, premiering and streaming on the companies’ social media channels. In this special, shorter-form conversation, Ruby speaks with the two dancers in ViVa, Samantha Hope Galler and John Harnage, all about the process of creating this unique duet and what it meant to them to be able to dance and make art again after 6 months in quarantine. Full Show Notes Miami City Ballet website & instagram Paul Taylor Dance Company website and instagram Samantha Hope Galler website and instagram John Harnage instagram Process Piece instagram Support Process Piece

Michael Novak is a dancer born and raised in Illinois. In 2018, he became the Paul Taylor Dance Company’s second Artistic Director after having danced for the company for 9 years. Previously, he also danced with Gibney Dance and the Daniel Gwirtzman Dance Company, studied at Springboard Danse Montreal, and has performed works by Bill T. Jones, Vaslav Nijinski and Stephen Petronio. In this conversation, Michael talks about his creative background, how dance and drama became languages for him, and his path to where he is today as artistic director of a renowned company. He also speaks about his own creative calling with his work, as well as how he believes in dance as a way of supporting cultural healing, now, during a pandemic, and moving forward into a more connected, globalized future. Full Show Notes Paul Taylor Dance Company website Paul Taylor Company Instagram Michael's instagram Process Piece instagram Support Process Piece

Welcome to Season 2! We kick season two off with the amazing Artistic Director for the, Paul Taylor Dance Company, Michael Novak! During this episode he shares how and why he leads, what inspires his drive and some objective stories about the great, Paul Taylor. Sit back, relax and enjoy the kick off episode of, Any One Can Move. Please learn more about the Paul Taylor Dance Company by clicking below:2 Link: https://www.ptamd.org/ --- Send in a voice message: https://anchor.fm/any-one-can-move/message

This week’s Barre Talk guest is Denise Roberts Hurlin. Denise was a founding member of Parsons Dance Company and a member of the Paul Taylor Dance Company. Denise and fellow Paul Taylor dancer, Hernando Cortez, co-founded Dancers Responding to AIDS as a vehicle to help many of their friends and fellow dancers who had become ill. Denise remains in her role as founding director, leading the program’s efforts to continue providing a safety net for the dance community.

Dr. Yoav Kaddar shares his perspective on finding your path in dance. He stresses the importance of valuing the fullness of a dance education - it offers way more than just technique class. His experience in dance began with folk dance which defined his role in shaping community whether as the current director of the WVU Dance Program, founding its Summer Dance Academy, or as president of the WV Dance Education Organization. He received his BFA in dance from The Juilliard School, his MFA in dance from University of Washington, and his PhD from the State University of New York. He has performed nationally and internationally as guest artist and has been a member of such modern dance companies as the Jose Limon Dance Company, Paul Taylor Dance Company, Pilobolus Dance Theatre, Peter Pucci Plus Dancers and Jacob's Pillow's Men Dancers. He has also danced with numerous independent choreographers and has choreographed for dance and theater. In this episode, he shares about developing and looking for spaces that will allow dancers to give their best while being challenged to new levels. He describes the joy of being part of a dancer's transformation or growth process and honoring the responsibility that comes with it. He encourages dancers and their parents to pay attention to the environment within which a dancer can thrive - including a willingness to let go of brand name appeal. Kaddar emphasizes the duality of maintaining big picture focus while contributing fully as an individual. Choosing the right program for you includes understanding the value of dance education - the fullness that it gives you beyond learning movement technique.

Dancer, educator, activist, all describe Denise Roberts Hurlin.  Part of the Paul Taylor Dance Company, Denise is a founding member of Parsons Dance.  She's also taught at Julliard in Manhattan, New Hampshire's Keene State College and her alma mater, Purchase College.  Denise also happens to be the founding director of Dancers Responding to Aids, a program of Broadway Cares/Equity Fights Aids.   Under her leadership DRA has produced more than 150 events including the annual Fire Island Dance Festival and together, they've raised more than $300 million to provide lifesaving medication, healthy meals and other social services for people living with HIV.

Paul Taylor Dance CompanySaturday, October 12th at 8pm DanceBack to Upcoming Events Click Image for Preview Video Public TicketsMahaiwe Member Tickets Paul Taylor Dance Company returns to the Mahaiwe Performing Arts Center with three performances over Columbus Day Weekend. The celebrated... Read More ›

This week Carly & Hannah step outside of their dancer boxes and talk to Lighting Designer Brian Jones. Currently on Faculty at UMBC, Brian has worked with dance legends Paul Taylor Dance Company, and too many to name at Jacob’s Pillow. The three discuss the ins and outs of lighting design, helping future generations discover their passion for lighting, and giving young people the professional experiences they deserve! The also dive deep into Brian’s creative process, which is parallel to so many’s choreographic process! Contact Brian: https://alightuncommon.com/ Follow us on instagram @countmeinpodcast, and rate on iTunes! Carly: @CarlyFayedance Hannah: @hannahmae92 Producer Corey: @CoreyJennings Contact: countmeinpodcast@gmail.com

In this episode, choreographer Pam Tanowitz discusses her first dance class, her choreographic influences, and her new works for New York City Ballet, Paul Taylor Dance Company, Martha Graham Dance Company, and more.  You can see Pam's work for the Martha Graham Dance Company during its Joyce season, which runs now thru April 14. Check Joyce.org for details as there are several different programs. *** More Info About The Joyce.  Tickets Facebook Instagram Thanks to Simon Kafka, the composer of our theme music, and the East West Quintet, who performed it. If you like it, you can purchase the song here.  Thank you to photographer Carrie Schneider and choreographer Kyle Abraham for providing the photograph for our show image. The photo features dancer Tamisha Guy in Abraham's Dearest Home. 

On this episode your co-hosts YeaJean and Martheya interview “Insightful & Irreverent” (LA Weekly) Jamie Benson. Choreographer, Comedian, Speaker, and Marketing Consultant: Jamie Benson has been featured in the New York & LA Times, the Dance Enthusiast, Dance Spirit Magazine, Broadway World, and Dance Magazine just to name a few. Jamie Benson has revolutionized how creative industries advocate for worthy causes both as a speaker & marketing consultant for companies like Paul Taylor Dance Company, Pilobolus and CDI. On this episode we talk about curating social media content, creating relationships in the digital space, running our own media agency, and strategies for crowdsourcing ideas for dance making.  

Caroline takes a trip back to her alma matter, Illinois State, to interview former Dean of the College of Fine Arts, Laurie Merriman.  Laurie was not only with Illinois State for 30 years, she danced with the Paul Taylor Dance Company, studied Graham under one of Martha Graham's students, and received scholarships to ballet summer programs.  Laurie offers a unique perspective on how the dance world has evolved and the necessity for talks about health and nutrition in today's dance culture.  

We’ve all used fitness trackers like Fitbits, iPhone step counters, and Nike Fuel bands to count our steps and to get a general idea of our overall activity for the day. Maybe we’ve even used this type of wearable to track our sleep cycles so we can gleam whether or not we are well-rested. But at the end of the day, how are these tidbits of information really impacting our health and wellness? And more specifically, how can they help dancers? Tune in to this episode of DanceWell Podcast to hear to Dr. Phillip Bauman MD, FAAOS and Mr. Doug Jamison of Hale.Life and Michelle Fleet and Dr. Madelyn Ho MD of Paul Taylor Dance Company discuss a study that is taking fitness tracking - using the Whoop wearable device - to a whole new level. To learn more about Hale.Life, visit: http://www.hale.life/ Photos for this episode courtesy of the personal collection of Laura Halzack, in collaboration with the Moss Arts Center Visit DanceWelll Podcast’s GoFundMe campaign by following this link: www.gofundme.com/dancewell-podcast-fundraiser Host: Marissa Schaeffer DanceWell Founders: Ellie Kusner and Marissa Schaeffer DanceWell Website: www.dancewellpodcast.com DanceWell email: dancewellpodcast@gmail.com

An hour long interview with my friend Francisco Graciano, who spent 13 years on tour with the legendary Paul Taylor Dance Company and found his love for dance photography along the way.

Elise & Lesley sit down with Bat-Sheva Guez filmmaker, director and writer. They discuss the addiction of making art, her short film "Behind the Wall" featured in the Art of Brooklyn Film Festival & the Lighthouse International Film Festival and being children trying to make art. Bat-Sheva Guez is passionate about weaving dance, magic, and experimental techniques into visually compelling, character-driven stories. She has directed over a dozen short films and screened them in festivals worldwide including the Hamptons International Film Festival, the Rhode Island International Film Festival, the New York Television Festival, and more. She is the recipient of the JT3 Artist Award for Screenwriting & Directing. Her latest film, Behind the Wall, won the Panavision Grant for Best Cinematography at the Rhode Island Int’l Film Festival. She is a member of Film Fatales and the FilmmakeHERS. With her production company, Adventure Pants, Guez has directed web films for several years, including videos for Lincoln Center about artists and performers including New York City Ballet, Paul Taylor Dance Company, and American Ballet Theatre to name a few. She's directed a web series featuring New York's Underground Performing Arts scene as well as promo videos for think tanks, non-profits, dance companies, and brands. Bat-Sheva is currently in the financing phase of a magical realism feature film entitled, And How She… More info at: Behind the Wall on facebook: https://www.facebook.com/behindthewallmovie/ Me on twitter: @batshevaguez and you can see my movie posts using #BehindtheWallFilm Behind the Wall Website: www.adventurepants.tv/behind-the-wall My production company: www.adventurepants.tv My feature film in financing phases (aka we need money to start prepro) www.andhowthemovie.com

Coming to you straight from the moon! Paul and Fawnda dig into Cite Ballet‘s Enigma and the legendary Paul Taylor Dance Company‘s first-ever showing in Alberta, along with the help of some colourful balloons. Modern and dance helium: way to lighten the mood, right? https://idontgetityeg.com/wp-content/uploads/2015/11/idgi-s3e3.mp3★ Support this podcast on Patreon ★

Coming to you straight from the moon! Paul and Fawnda dig into Cite Ballet‘s Enigma and the legendary Paul Taylor Dance Company‘s first-ever showing in Alberta, along with the help of some colourful balloons. Modern and dance helium: way to lighten the mood, right?

Today's Guests: Director Kate Geis and executive producer Robert Aberlin, who capture the creation of Paul Taylor dances in the behind the scenes documentary film Paul Taylor: Creative Domain. INTERVIEW Kate Geis, Robert Aberlin... by andelman  Watch this exclusive Mr. Media interview with KATE GEIS and ROBERT ABERLIN by clicking on the video player above!  Mr. Media is recorded live before a studio audience full of prima ballerinas who – like Mr. Media – would give their left, uh, Capezios to be in the Paul Taylor Dance Company… in the NEW new media capital of the world… St. Petersburg, Florida! For all of my pop culture tastes – superhero movies, detective novels, losing sports teams, loud sitcoms – there has always been a place in my heart for opera and dance. I know, I know; my wife doesn’t believe it either. Still, it’s true. ROBERT ABERLIN podcast excerpt: "Getting Paul Taylor to agree to this documentary took me about four years. He would often say to me, ‘Who would ever be interested? Nobody will be interested in this! Why do you want to do this?'" You can LISTEN to this interview with KATE GEIS, director, and ROBERT ABERLIN, executive producer, of the documentary film PAUL TAYLOR: CREATIVE DOMAIN, by clicking the audio player above! Being able to sing opera is an incredible gift, as is the opportunity to see it performed. Seeing Luciano Pavarotti live in 1984 sealed that. And when it comes to dance, while I’ve always admired the physical skills of the dancers – particularly modern dance – the process of creating the dance has always fascinated me. I first realized my interest in this amazing art while watching the 1985 film White Nights starring the unlikely team of Mikhail Baryshnikov and Gregory Hines. Which brings me to a fascinating new dance documentary, Paul Taylor: Creative Domain. KATE GEIS podcast excerpt: "Dance is often nonverbal. There is a moment when the choir is seated on each other in a row. Paul, in his mind, had a sense of what it would look like. Once he actually had the dancers in front of him, doing it, he realized how funny it looked, so he started laughing. And then the dancers all started laughing. Paul said, 'It's unnatural.' Even he can find the humor in those moments." How does a new dance ever develop? Ever wondered? I have. Paul Taylor Creative Domain (Trailer) from Kate Geis on Vimeo.    This film takes viewers somewhere they never expected to be: inside the Paul Taylor Dance Company rehearsal studio as the legendary Taylor’s 133rd dance, "Three Dubious Memories," takes shape. Taylor – who is in his 80s – has never allowed cameras to capture his creation before and it is astounding to see. Not only do we see him teaching precise movements to his company and fixing his 2-D concepts to the actual capabilities of his 3-D dancers, but he allows us into his dance notebooks – with the men and women as Xs and Os – which even the most experienced NFL football coaches could only marvel at. Joining me to discuss this rare peek behind the curtain are the director, Kate Geis, and executive producer, Robert Aberlin. Key interview moments: • 5:00 Fighting to get Paul Taylor’s buy-in to record the creation of a new dance from start to finish; • 7:57 Taylor plots his dances in detailed notebooks, plotting out moves the way an NFL football coach does, right down to Xs and Os; • 19:50 Sometimes even Taylor sees the absurdity in what he asks his dancers to do. Paul Taylor: Creative Domain Website • Facebook • Vimeo   The Party Authority in New Jersey, Pennsylvania, Delaware and Maryland! The post Behind the scenes, Paul Taylor dances come alive in doc! VIDEO INTERVIEW appeared first on

Jordan Matter is a photographer in New York City and the photographer/author of the stunning book Dancers Among Us, A Celebration of Joy in the Everyday. It is evident in all that we know of Jordan that he truly does celebrate joy in the everyday. He loves his life, his family, and his job. Photography was not always his passion; baseball and acting took those spots earlier in his life. That began to change for him however, after viewing an exhibit by photojournalist Henri Cartier-Bresson. Moved by the stories of humanity the images portrayed, he picked up the camera first as a hobby, then as a passion. Later, looking through a friend's routine and mundane headshots (from another photographer)he was inspired to grab his camera and photograph her. Soon, his career as a portrait and headshot photographer boomed. His idea for "Dancers Among Us" came from watching his three-year old son play with a toy bus and figurines. Watching his son's imagination at work he thought about creating photographs that would show the world as if through his eyes. The people in the images would be alive and in the moment, celebrating all aspects and emotions of everyday life. Soon after, he attended a dance performance and knew immediately his subjects. When Jordan began work on "Dancers Among Us", he had no dance photography experience. Anyone who is either a dancer or involved with dance knows that it is not easy to capture a dancer in motion for a photo that conveys the true movement, which makes this work just that much more amazing. As he was formulating the idea for the book, Jordan was hired by Jeffrey Smith of the Paul Taylor Dance Company to photograph his headshots. He told him about his idea of photographing dancers in everyday situations. Jeffrey Smith loved the idea and convinced ten company members to collaborate with Jordan. The book eventually involved 200 dancers photographed around the United States. It was three years in the making and at one point almost a goner until Workman Publishing took a chance on it. Their gamble paid off. "Dancers Among Us" reached the New York Times extended Best Sellers list in its first week, selling out on Amazon within 24 hours. The book is filled with images of dancers in everyday life experiences, augmented by thoughtful quotes and text.  

Nathaniel Shaw, founder and Artistic Director of The Active Theater joins host Robin Milling on Memorial Day. Nathaniel talks about the provocative play Body Language which explores a woman's dark secret and how she comes to accept it. He tells Robin some of the scenes and nature of the piece can make audiences uncomfortable but that conversation is what fuels the mission statement of The Active Theater, now in it's fourth season; to move the audience. The son of modern dancers, Nathaniel began his career dancing with the Paul Taylor Dance Company and tells Robin how his dance background came in handy when staging his theatrical productions. He also helmed such musical theater classics as Hair, A Chorus Line, Hairspray and Damn Yankees. Nathaniel is looking forward to celebrating The Active Theater's fourth season with a Spring Gala on June 4th He is hoping to bring productions of William Donnelly's No Wake, and the New York debut of Anna Ziegler's Variations On A Theme for season five. Body Language runs through June 10th in New York City. For more information visit www.theactivetheater.com

Today, we’ll hear from Mary Cochran (Chair of the Dance Department, Barnard College of Columbia University) and Luciana Achugar (2007 Bessie Award-winning choreographer) about Sugar Salon, a program dedicated to mentoring, commissioning and presenting women at the forefront of contemporary choreography. GUEST BIOS: Luciana Achugar Luciana Achugar is a Brooklyn-based Uruguayan choreographer. After moving to New York upon graduation from Cal Arts in 1995, Achugar danced with several choreographers, including Chameckilerner and John Jasperse. From 1999 to 2003, she worked in a close collaborative relationship with choreographer Levi Gonzalez. Their work was presented in New York by Dixon Place, Movement Research at Judson Church, PS1 Contemporary Art Center, Dance-in-Progress at The Kitchen, and at Dance Theater. Achugar has also worked collaboratively with visual artists Marcos Rosales and Michael Mahalchick. Mary Cochran Department of Dance Chair and Associate Professor of Professional Practice at Barnard College of Columbia University, Mary Cochran has performed and taught on every continent except Antarctica. A renowned soloist with Paul Taylor Dance Company from 1984-1996, Cochran continues her association with Taylor to this day having completed 19 restagings of his masterworks and as Director of the Paul Taylor School’s Summer and Winter Intensives. Cochran has taught at numerous colleges and conservatories including Mills College, the Juilliard School, University of Michigan, Harvard University, and the North Carolina School of the Arts. She received her MFA from the University of Wisconsin/Milwaukee in May of 2005. UPCOMING EVENT: See Sugar Salon's performances at Abrons Arts Center (February 15-16), featuring works by the 2007-08 residents: Luciana Achugar ("Franny and Zooey"), Renée Archibald ("Curtain Wall") and Heather McArdle/BLUEPRINTVIOLATION (excerpt from "Ballad of Arrivals & Departures"). Choreographer mentor Donna Uchizono will moderate a post-performance discussion with the artists on Friday, February 15. For full schedule and ticketing details, call 212-352-3101 or visit http://www.theatermania.com. INFORMATION LINKS: Department of Dance, Barnard College: http://www.barnard.edu/dance Williamsburg Art NeXus (WAX): http://www.wax205.com Abrons Arts Center: http://www.henrystreet.org/arts Body and Soul is the official podcast of InfiniteBody dance blog at http://infinitebody.blogspot.com. Subscribe through iTunes or at http://magickaleva.hipcast.com/rss/bodyandsoul.xml. (c)2008, Eva Yaa Asantewaa