Getting There: Leading Your Students to the Great White Way
Students from countless studios and academies from coast to coast aspire to Broadway careers. They may have first experienced theatre when they saw “High School Musical” or "Center Stage" at their local movies, or when they attended a performance of "Grease" at their high school, or when they participated in a summer dance program and sat in a big “house” for the first time. It’s not uncommon to be hooked on the spot! These are the students who have their sights set on "The Great White Way."
Broadway developed out of Vaudeville, which unlike a Broadway musical or play with a script to follow, consisted of a series of acts presented by comics, singers, acrobats and other performers. Broadway as we know it today began to take shape in the early the twentieth century when New York was just beginning to emerge as a cultural center, but not on 42nd Street as you might imagine, but in an area close to what is now Greenwich Village. On 13th Street, The Star Theater played "A Great White Diamond." A ticket to the "Ziegfeld Follies 1907" was the most expensive in town - $2.50. Imagine that! Times have changed and the storied history of Broadway’s development is replete with tales of audiences actually involving themselves in the plays - talking to the actors, hissing their displeasure, and applauding at very inappropriate moments. All exchanges led to the refinement of what we know as Broadway theatre. Today, New York's Broadway stretches from West 41st Street up to West 54th Street. Most legitimate houses (theatres) are located east or west of these 12 blocks. However, it is important to note that Broadway is alive Off Broadway and even Off-Off Broadway - in houses scattered throughout Manhattan.
It's safe to say that few Broadway performers grew up in the center of those geographical boundaries. They were trained and nurtured and then set on their various paths by teachers with years of valuable experience. Most every working or aspiring Broadway actor has an entire address book of teachers to thank, and when the time was right and the student aimed higher, those teachers hopefully encouraged that student to follow his or her dream. Broadway beckons to so many. So, how did some of today’s stars get to Broadway?
"Under the Sea" with Tituss Burgess as Sebastian in "The Little Mermaid" presented by Disney Theatrical Productions
Photo: Joan Marcus
Christine Ebersole, star of"42nd Street" and "Grey Gardens," was called to the Broadway stage from Winnetka, Illinois, where she discovered her passion for theatre at New Trier High School. Donna McKechnie, the Tony Award-winning Cassie of "A Chorus Line," came from Pontiac, Michigan. Tommy Tune is a Texan. Savion Glover was born in New Jersey and attended an arts high school in Newark. While he was a student at Broadway Dance Center, he made his Broadway debut in "The Tap Dance Kid."
Countless others are struggling to achieve those very same goals. By day, they take dance classes to hone their technique. They take stretch classes and Pilates to stay strong and limber; some work with vocal and acting coaches. By night, they’re waiters or tutors or baby sitters or bartenders. All hope to see their names in lights on a Broadway marquee. A number of dancers, working endless hours to achieve their common goal, were gracious enough to lend a part of their stories as testimony to their dedication. Thanks to their devoted teachers, regardless of their degrees of success, these dancers will always be thirsty to learn.
As a teacher guiding your students to this arena and encouraging their talent, you might be asking how do you help them achieve their goals? What resources are available to you? How do you expose your students to all the wealth the Broadway theatre has to offer? How do you translate the excitement of "Grease," "Spring Awakening," or "The Little Mermaid?" Where do you tell them to turn and what advice do you give to that student who is relentless in the quest for Broadway fame? What does it take to get to Broadway? The following dancers attempt to shed some light on what they’re doing to achieve their goals. Some are still trying; others have “arrived.” Their stories are enlightening.
At 29 years of age, Alicia Albright’s goal of reaching Broadway soon looks pretty good. She’s from San Ramon, California where she danced at the San Ramon Valley Dance Academy. She went to college, got a double major degree in dance and drama with honors in musical theatre and has also danced in Donald McKayle's modern dance company. She moved to New York right after September 11, and things have been going well since then. She works a lot but not consistently; there’s always a pause between shows! She's currently on the waiting list for "Jersey Boys" and has been called in for "Wicked," "Billy Elliot" and "Leap of Faith" among many others. She was offered the "Mama Mia" tour as the swing but turned it down because her goal right now is to stay in NYC and get a Broadway show. "I have toured enough for now!" she says. Alicia takes class as often as she can. She takes numerous forms of dance: modern including musical theatre, ballet, hip hop, lyrical, and salsa. "I think the more you can do the more marketable you are as a dancer! I also take voice lessons when I can."
Albright says, "I am not going lie; one of the biggest challenges to get to Broadway is to survive in New York City until you get there! It is hard to make it in the city. I have been here for a long time and between gigs have done about every job known to man to get by and pay for all the classes that inspire me to achieve the dream I have had since I was a kid. It can be a hard life, but it is completely worth it! I would rather struggle and know what my heart truly desires, and see a show or take a class that makes me so happy and filled with hope and dreams, than do anything else in the world! I love what I do; it is why I get up in the morning, and I will keep doing what I need to do to get there as long as I need to…and 'do you know what? I won't lose hope because I know in my heart it will happen someday!”
Katrina Marie Phillip moved from a Chicago suburb to New York City about 5 years ago. She’s been dancing all her life, but she also loves teaching. So to save herself from all the rejection auditions bring, and all the competition from others striving for the same goal, she started a musical theatre dance group that "offers free dance classes to the average cattle call dancer who has trouble affording dance class at studios, would like more chances to network, and would want to celebrate their love of dance and creating in a more positive, uplifting, non-judgmental way," and began choreographing her own work. She freely admits that it has been one of the scariest things she’s ever done - putting herself out there without a credit to her name. Her homage to her teachers: “I must again thank all my teachers and mentors that have been supporting me and have been cheering me on every step of the way.” Her teacher back in Downers Grove, Illinois, Ms. Colette Gilbertson has been an inspiring mentor since Phillip was age three. "As her students became older, they dwindled, becoming more interested in school activities, however I still remained loyal to her and to dance. She suggested that I take from other studios as well, and I went everywhere I could." Phillip had many other encouraging teachers along the way to New Yorkwho were there for her "willing to listen, willing to help, and 'saving' me with stories and lessons."
All educators are eventually faced with letting the student go. For dance teachers it seems to be particularly difficult because dance is such an intimate art form and the relationship between teacher and dancer is especially close (often times love-hate as a result of the rigors of discipline). Some teachers have had a student in their studio since pre-ballet! It's always hard to let go. Educators and parents share similar feelings about their "children." For the dance teacher, that student is one of their children, so the paradox exists in a state of unnatural equilibrium. You teach; you nurture; you give always of yourself; you help to prepare for the child's future; you love, and then you let go. It's a bittersweet yet happy dichotomy of emotions, but it's the natural course of events. If you're a true teacher, you let go and you watch your progeny soar.
Laura Osnes as Sandy and the Company of "Grease" in Summer Nights
Photo: Joan Marcus
Teachers who are training Broadway bound dancers might do well to expose their dancers not only to as much class variety as possible but to let them see the harsh realities that Broadway presents to the dancers and actors trying to land a job. That's exactly what Angel Fraser Logan of Miami, Florida has done. Logan is a teacher, a nationally-recognized choreographer and the owner of an empire - literally - Angel's Dance Empire in Miami, Florida (which at times has numbered over 1,000 students). Logan offers classes for "babies" to the pre-professional and offers all forms of dance, as well as Pilates. She routinely presents day- and week-long master classes with some of the dance industry's most noted dancers and choreographers. To expose her students to the rigors of a professional dance life, she has personally escorted groups of her most talented and motivated dancers to New York and Los Angeles and had them take numerous professionally-oriented classes as well as attend the theatre. She and her staff of teachers stimulate students by employing unique and time-tried syllabi, and all teachers encourage their students to audition for "everything." The more experience and exposure, the better prepared they are to deal with whatever is thrown their way.
Logan says, "I feel there is a new challenge that dance professionals must face with the training of current and future dancers - dealing with the psychological factors that are in play as we prepare kids to be strong enough to handle the professional world of dance and dance past the factors of pain. Children today are so comfortable that they lack the fire of past generations because they don't know how to push beyond and rise above. It's difficult for them to feel the height of success within themselves and know the feeling of overcoming and conquering obstacles. This affects the dance. I have found that I must start with positive training and then once they have learned to trust and that they understand there is love and knowledge behind everything you're doing, you can take them into the reality of the world of dance. I search for the "magic" of dance and show them that it does exist and it is their job to keep it alive. I tell them 'no pain, no gain and 'mind over matter'. Pain is just an annoying little challenge that reminds you of the growth that is still left that you have yet to master. I always let them know they can do whatever their heart desires, but once the heart stops desiring, its time to listen to it and move on with it. When your heart is not attached to what you are doing in life it is always pointless. As I watch them leave for the harsh reality of the dance world, I know they are prepared. I know they will not fail, and I know they are strong, loyal, decent human beings who will enhance the world no matter where life takes them. So, I do not worry; I simply enjoy watching and hearing about their journey. For those who do dance professionally, I tell them to always dance while their bodies can, for someday they will not be able. I enjoy getting phone calls and mail from some of my dancers who are dancing professionally and are still constantly seeking advice. I usually just remind them of who they are, where they came from, and to listen to the direction of the heart. I am happy to say many are still dancing and holding strong to who they are and what they know, and not straying from that one ounce! I am proud of all who have the strength, courage, and desire to enter a road that is definitely going to have bumps in it. It is hard to find children who are ready to do that these days, but when you do, you realize what you are doing has purpose beyond your understanding."
Lori Holmes feels lucky to have had a professional dance career. She says of her teachers, "Robin Dawn was my catalyst. Ann Reinking was my inspiration. Frank Hatchett was my angel." Growing up she and her mother had a pet grooming business but often struggled to make ends meet. She started studying dance with Robin Dawn after one of their customers invited them to her daughter’s dance recital. Holmes was thirteen and was taken immediately. Because training was expensive she worked hard for each lesson. Performing was a treat and far more rewarding than grooming pets!
She spent summers in high school at Ann Reinking’s Musical Theater Project of Tampa. Reinking introduced young dancers to acting, voice, improvisation, and the Commedia dell’arte. She stoked our intellectual appetites, which led her to apply to NYU's Tisch School of the Arts. That training developed her acting and singing skills and introduced her to the world beyond performance.
While in college, Frank Hatchett gave her a scholarship to the Broadway Dance Center, and she studied there with many great choreographers, some of whom she ended up working with on Broadway. "I started my first Broadway job two days after graduation. Preparation and diligent work coupled with the generosity of mentors paved the way to my career." Holmes is currently on "Wicked's" original company's first national tour (which has allowed her to buy her first New York apartment). She has appeared in "Footloose," "Fosse," "HAIR" and "West Side Story," among others.
Casey Gill grew up in New Jersey and has been dancing since she was three. She started with Vicki Czblecki at her local studio, Dance Dynamics. When she was eight, she began training with the New Jersey Ballet. She currently trains at NYC’s Broadway Dance Center, where she credits Andy Blankenbuehler as one of her biggest influences. She dances many styles including theatre dance, tap, jazz, ballet, pointe, and hip hop, and she's also a competitive figure skater who choreographs for both skating and dance. After a serious car accident several years ago, which confined her to her bed and a wheelchair, she learned patience and faith that she would dance again - and she has, becoming a stronger and more passionate dancer. Gill says, "To make a career out of something that I am most passionate about would be a miracle for me. The teachers I have had throughout my life, whether they were [severely] strict ballet teachers in my youth or teachers right off of Broadway, have taught me so much about who I am as a dancer and a person. They have motivated me and inspired me to work hard to accomplish my dreams and love and be thankful for every minute that I am dancing."
For teachers who desire to train Broadway dancers, the goal seems often daunting, but there are many resources available to you regardless of your geographic location. Broadway Across America's mission is the commitment to share the magic of live theatre and education of audiences. Their intent is to "nurture touring Broadway as a dynamic and primary source of performing arts entertainment throughout the country; to extend community participation and audience growth in the arts through programs of education and community outreach; and to provide resources to our partners to enhance and support their community arts education missions." Their website is ripe with information and sources and contains a very unique feature - study guides to some of our most beloved shows. "Stage Notes" is a field guide for teachers, but dancers will be enthralled by all the information available to them. The field guide for "Wicked" contains an overview of production, lesson guides, student activities, at-home projects and reproducibles to stimulate and satisfy the thirst for the Broadway experience - invaluable if you can't or don't get to New York City. All field guides contain a brief synopsis, characters and musical numbers. It's a mini lesson plan and an added resource for the teacher who can't present a master class in voice or musical theatre.
Also on this site are featured news pieces on what's opening on Broadway during the year. Since Broadway Across America offers local programs throughout the country, you can click on your city and find out what's available in your vicinity in the way of master classes, workshops as well as finding discounted tickets for productions in your area. There are at least 50 cities listed. The site also features an area called Broadway 101, which provides answers to commonly-asked questions about theatre. Currently there's information in this section on swings and understudies; how certain actors made it to the stage; and a look at touring companies and how they are cast. The website for this organization is www.broadwayacrossamerica.com.
Broadway Educational Alliance serves the theatre, performing arts and live entertainment industries by "acting as a source for the development, management and distribution of exciting and informative multi-media-based arts curriculum for schools across the nation." They work with Camp Broadway on the development and distribution of innovative distance-learning curriculum using the arts to teach a core curriculum. By partnering with Panasonic and using their technology they are able to bring video shows into the studio. To subscribe to their service and to learn more about their services, go to www.broadwayeducationalliance.org.
Broadway Artists Alliance offers winter and summer intensives with prominent Broadway dancers, music directors, choreographers, coaches and directors. A recent workshop features choreography from upcoming and current Broadway shows, such as “Legally Blonde,” “Wicked,” “Spamalot,” “Rent” and “Mamma Mia.” Students have many choices, some being choreography, stretching techniques, tap, jazz, modern and ballet, musical theatre and more! Though students have advanced master classes in their major, their schedule also includes elective classes and exposure to discipline that is designed to aid in their development as a triple threat performer. The second summer session culminates in a final showcase of the repertoire created in classes, and all participants perform for industry professionals (casting directors, agents, managers, directors and music directors.) The performance is on a stage right in the heart of New York’s theatre district. Teachers can use this experience as a springboard for their student or as an eye-awakening summer to evaluate the rigors of getting to Broadway. Enrollment is limited and highly selective. Request information from Broadway Artists Alliance – www.MySummerCamps.com.
There are summer camps and workshops all over the country. When you recommend a summer camp to your students who aspire to Broadway, do copious research and get opinions from other teachers who have sent their students to these workshops. Make sure the camp is accredited and check the references of the teachers. If possible, contact former parents and students as well as their teachers. If you're able to offer your own summer camp - even if it's a mini camp specifically designed for the aspiring Broadway dancer - do so and try to bring in at least one master teacher so that your dancers are exposed to something different, something new. Invite some of your former students who are currently working dancers to teach a class or conduct a workshop. There are several in-studio events that will come to you. Some of them hold mock auditions and many are hosted by dancers currently working professionally in the field. Regional theatre is alive and well and is found everywhere across the country. Encourage your dancers to experience and even participate in live musical theatre when possible. Through some of the above-named organizations, group tickets are offered at very affordable prices. Take a field trip with your students to expose them to the Broadway experience. It's a wonderful feeling to share live theatre - Broadway theatre - with your dancers. Broadway is waiting for your students to explore all it has to offer.