Dance Still a Small World
Twenty-three-year-old Andrea Szember isn't a newcomer to the world of dance. In fact, you could say she was born to dance.
Andrea, who's currently in her second season as a company dancer with the Augusta Ballet, under the direction of Zanne Colton, treasures her life as a dancer. And, it's no wonder. She's the fourth generation in her family to follow this road.
Andrea's great-grandmother, Grace A. Thomas, was a dance pioneer who founded their family's ballet school in South Florida over eighty years ago. Grace, known affectionately to her many students simply as "Teacher," was a founding member of Dance Masters of America and once taught ballet to the Fighting Irish football team at Notre Dame. She was so admired that First Lady, Eleanor Roosevelt, commissioned her to conduct a U.S.O. tour in the 1940's. Grace's "girls," with emcee Stubby Kaye, entertained troops during World War II. And it was on one of these tours where Grace met and formed a life-long friendship with a young soldier, Zachary Solov, a talented dancer who would, thereafter, spend winters with Grace and her family. Solov would later become the choreographer and artistic director for the Metropolitan Opera, but continued to make visits to Grace's school each year for over forty years.
And, it was here at this same South Florida ballet school where Andrea's grandmother, Virginia, met her grandfather, and now where Andrea's mother and aunt are keeping the tradition going. But, that's not all. Andrea's sister, along with several cousins, all trained at the school, which has been home to numerous professional dancers, including one of Andrea's teachers, Charlotte Ray Hamer.
Charlotte, who trained with Grace, was one of those "girls" who entertained the troops in the 40's, along with another of Grace's students, Helen Anderson. Charlotte and Helen then traveled to New York, where they won lead dance roles in Oklahoma! starring Howard Keel. And, believe it or not, Helen became Mrs. Howard Keel, while Charlotte went on to become a dancer with the New York City Ballet under George Balanchine. In fact, Charlotte danced in NYCB alongside Ron Colton, the original founder of Augusta Ballet, where Andrea is now dancing! (A coincidence that was unknown to everyone until after Andrea signed her contract!)
For Andrea, who also studied summers with Pacific Northwest Ballet, Pittsburgh Ballet Theatre and Milwaukee Ballet, having a career with a ballet company fits like a glove. "When I was little, I grew up with ballets and musicals. We went to see shows like Cabaret and Chicago, and had season tickets to Miami City Ballet," she recalls. "I'll never forget seeing Prodigal Son. I was so impressed that I came home and announced that I wanted to dance the role of Siren! I think I was eleven! "
And, coincidentally, Andrea did dance, as a child performer, in Miami City Ballet's Nutcracker. She remembers admiring the dancers as they prepared backstage. "I thought they were magical!" she said. "There were so many beautiful dancers to look up to in that company." Years later, as if out of a story, Andrea would dance alongside one of her "idols" when, during her trainee-ship with Pittsburgh Ballet Theatre, she was reacquainted with Maribel Modrono, who was a principal there at that time. "What a thrill it was to be cast next to Maribel. She is just exquisite." Modrono, it turns out, had actually danced the role of Sugarplum in Miami City Ballet's Nutcracker where Andrea had performed as a child.
Now, Andrea's roles have encompassed both classical and contemporary works, including Le Corsaire, Scheherezade, Carmina Burana, Cinderella, and Swan Lake, as well as original works by Augusta Ballet resident choreographer, Peter Powlus. Over the past two seasons, Andrea has been pleased to dance numerous featured roles including Hearth of Ember, Thomas Shoemaker's provocative Foreverly, Peter Powlus' Pinocchio and Twelve Foot Two Step, and Anthony Ferro's Red Wagon. Andrea was thrilled to perform one of the female leads in Augusta Ballet's twist on the cult favorite, Dracula. "Our version uses the silent film era as its backdrop. It's less dark; more tongue-in-cheek. I loved it!"
And audiences loved it, too.
Additionally, Andrea enjoys a wide variety of styles. "Augusta Ballet loves to do lots of different things, which is great. It gives me a chance to use my jazz training, too." Actually, she's being a bit modest. Andrea's diverse credits include performing at Walt Disney World, dancing at the Hollywood Bowl, and a mem-orable one, tapping on stage with legend, Gregory Hines. "I was only ten for that one!" she admits. She was also named Miss Dance of Florida in 1999.
Admittedly however, her favorite roles come from the works of George Balanchine. "That's where my heart is. I was fortunate to train much of my life with teachers who trained with Mr. Balanchine. His ballets just seem nat-ural to me. It's exactly what the music tells you to do." And, to her delight, she has been fortunate to perform in many Balanchine works, including "Serenade," "Concerto Barrocco," and many roles from "Nutcracker," including Marzipan, Dew Drop and Arabian Coffee.
In the free hours, Andrea is now doing a little teaching. "Now I know what my teachers went through. It takes lots of patience." Passing the torch, however, seems to run in her family. And, although there's usually not much time for hobbies, she enjoys painting, drawing, yoga, watching movies, and playing trivia. She also loves to travel and hopes to visit Europe someday.
When asked if the lifestyle for a dancer is difficult, she replied, "It's always tough to move so often when you've made good friends. And, of course, you really need to be on a tight budget." Then she added, "My weakness is shoes, so that's not good!"
And, when asked what she thought the future held, she answered without hesitation, "This! I plan to keep performing as long as possible. I'd like to do lots more."
Then, in answer to a question about life's day to day struggles, it became clear that, although this young woman is on her own, she has a great support team. "My family is so supportive. I know that sounds cliché, but my family really, really is. And I'm sure that's because they're part of a larger dance family, too." And she's right. The dance world is a very close-knit community.
On old friendships, she said, "It's hard. I miss lots of people." She keeps in touch through e-mail and phone calls. "I've got to cut down on the text messaging, though. My phone bill is crazy!"
It seems dancers stick together, too. Taking turns having dinners; sharing rides to rehearsals. They may be vying for the same jobs sometimes, but there's an overwhelming sense of sharing. Such is the time-honored artist's law. And Andrea has found that there's also an added bonus. "Here in Augusta, there's a team. And that's all due to Zanne. I enjoy dancing here very much, but not just because of the great work. Zanne has made it feel like a real "family." She's a wonderful teacher and director, but mostly a lovely and inspiring person."
Right now, it's spring, and the dance season is winding down. Augusta Ballet's final program is quickly approaching. It's a collaborative of contemporary and modern works, featuring pieces by Merce Cunningham, Lar Lubovich, and resident choreographer, Peter Powlus, cleverly titled Im "Merce" Yourself. Andrea will, along with the entire company, be performing in several works. But there's a little special surprise. Augusta Ballet founder, Ron Colton, has arranged a small reunion of some of his former New York City Ballet dance friends to be on hand for the opening, including none other than Andrea's former teacher, Charlotte!
Topping off this great past season, Andrea has wonderful news. She's been asked to return for another season with Augusta Ballet! And, she's excited to hear that the company plans to open next fall with Giselle.
But first will come the summer break; the company's off-season, when most twenty-three-year-olds would be basking on a beach somewhere. Andrea, however, says she has more good news. She's been offered a job as a counselor for a summer ballet intensive for one of her former teachers, Jillana. Oh, and did I mention that Jillana was also a former principal dancer for the New York City Ballet?
And so it goes.
Dance really is a small world. A small, wonderful world.