“Through the early decades of modern dance in this country, The 92nd Street Y became a safe haven for many artists who were not being presented anywhere else in New York City,” says Alison Manning, co-executive director of the Harkness Dance Center and director of the Harkness School of Dance at 92NY. Dance legends like Erick Hawkins, José Limón, Sophie Maslow, Pearl Primus, Ruth St. Denis, and Ted Shawn all performed on 92NY’s stage. Although the organization also had classes and concerts in other dance styles, it was a hotspot for modern dance in particular just as the genre was beginning to take off in the U.S.

This year, as 92NY celebrates its 150th anniversary, honoring those dance roots is at the top of the list of priorities. The organization is installing a major exhibit called “Dance to Belong: A History of Dance at 92NY,” from March 12 to October 31, in 92NY’s Weill Art Gallery. It kicks off with a one-night-only performance on March 12 meant to connect the venue’s illustrious past to the promise of what’s ahead. The Limón Dance Company will perform José Limón’s beloved There is a Time, paired with Omar Román De Jesús’ Like Those Playground Kids at Midnight. The Martha Graham Dance Company will perform Appalachian Spring Suite, paired with an excerpt from Jamar Roberts’ We The People. And Ailey II will perform a series of excerpts from Ailey classics, including The Lark Ascending, Streams, and Blues Suite, plus a premiere by Hope Boykin.

“We are highlighting that, in the moment when modern dance was wrestling into relevance in this country, The 92nd Street Y played a pretty critical role in opening doors for artists who needed space and support,” says Manning.

The programming for the upcoming performance began with Limón’s There Is a Time, she says. “The piece represents such an important message about our own 92NY history. There have been ups, there have been downs,” she explains. “And we as an institution have weathered both times of great challenge and of joy, but that we were at the forefront for many overlooked artists, during this important period in modern dance history, in providing support, time for joy, time for grief, whatever they needed to make their work.” 

The one brand-new work on the bill is a premiere by Boykin, who says it’s an expression of her gratitude to the legends who paved the path before her. Creating it for this concert was a “no-brainer” she says, since 92NY not only gave some of those legends a platform, but offered her one too: Her first full-evening show of her own took place there in 2021. “This work is a thank-you,” says Boykin. “A thank-you for the lessons, and paths made clear. This work will be a celebration of who I have become as a result of the work so many did before me.”

Putting together the March 12 program has brought home for Manning just how pivotal a role 92NY has played in the story of modern dance, and her role in stewarding that forward for the next generation. “My vision centers around trying to make sure that artists who need a platform and haven’t had an opportunity have it,” she says, “and artists who already have substantial support and known work can lift up these younger, less established artists simply by sharing the space and being presented on these same stages.”

Román De Jesús points out that this is precisely what this particular program is doing for him. The emerging choreographer has recently been racking up fellowships and awards, like the Dance Magazine Harkness Promise Award, yet he still struggles to find resources and venues to showcase his work. “To me, standing on the same stage as legendary companies and alongside fellow emerging artists symbolizes representation, inclusivity, and hope,” he says.

92NY’s long tradition of inclusivity is ongoing, and it will continue to be a place where dance history is made for many more decades to come.

The post 92NY Celebrates Its Rich Dance History as a Birthplace of Modern Dance appeared first on Dance Magazine.

Romeo and Juliet and Couples Therapy

STANFORD, CA  What if Romeo and Juliet, instead of dying as star-crossed teens, lived to grow up and had to learn how to deal with each other? Ben Duke’s Juliet & Romeo shows the couple, now roughly 40 years old, putting on a dance theater performance for a live audience to confront their relationship troubles and the pressures of being the overgrown poster children for romantic love. Lost Dog’s critically acclaimed duet makes a rare appearance stateside at Stanford Live Feb. 1–3. live.stanford.edu. —Courtney Escoyne

Raise It Up

MEMPHIS  Hope Boykin contributes a premiere to Collage Dance Collective’s RISE program. Also on tap are the ballet that lends the program its name—artistic director Kevin Thomas’ Rise—and Amy Hall Garner’s Saint Glory, which was inspired by her grandparents’ Catholic and Baptist roots. Feb. 3–4. collagedance.org. —CE

Desert Rose

ON TOUR  ZooNation hits the road, beginning a North American tour of the Kate Prince–choreographed Message In A Bottle this month. Set to songs by Sting newly arranged by Alex Lacamoire, the dance theater work follows a displaced family as three separated siblings venture out on their own. The tour kicks off in Los Angeles Feb. 6–11 and wraps up in Philadelphia May 14–19, with stops in Denver, Chicago, Montreal, Toronto, Boston, Charlotte, Washington, DC, and New York City. sadlerswells.com. —CE

The Jilted Bride

MIAMI  To commemorate happy vows, save a piece of wedding cake. But after a jilting, what could a wronged woman do? Freeze the betrayal scene and keep wearing the bridal gown—the wounding of others to follow. Redemption, though, awaits. That’s the premise of Havisham!, Dance NOW! Miami’s site-specific reimagining of the most Gothic character from Charles Dickens’ Great Expectations, Miss Havisham. Here she gains an expiatory backstory—two dancers portraying her at different periods, enamored then broken—seen from company co-director Hannah Baumgarten’s feminist perspective. To South Beach Chamber Ensemble’s pop and classical selections, Pip, Estella, and the brutish Drummle weave in and out as audiences traipse through North Miami Beach’s Ancient Spanish Monastery. Feb. 7– 8. dancenowmiami.org. —Guillermo Perez

Curated by Camille

NEW YORK CITY  Gibney’s DoublePlus continues this month with a pair of premieres by film and theater choreographer Mayte Natalio and multidisciplinary experimental artist Maleek Washington, who were selected for the program and mentored by Camille A. Brown. Feb. 8–10. gibneydance.org. —CE

Movin’ It On

DALLAS  For this year’s iteration of Dallas Black Dance Theatre’s Cultural Awareness program, company member and co-rehearsal director Hana Delong premieres Post Mortem. Joining it are His Grace, a tribute to Nelson Mandela by Christopher L. Huggins, and Matthew Rushing’s ODETTA, set to songs by songwriter and civil rights activist Odetta Holmes. Feb. 9–10. dbdt.com. —CE

New Works in Nashville

NASHVILLE  For its annual Attitude program, Nashville Ballet will debut commissions from resident choreographer Mollie Sansone, Kidd Pivot dancer Jermaine Spivey, and Camille A. Brown & Dancers member Yusha-Marie Sorzano, all with music performed live by local musicians. Feb. 9–11. nashvilleballet.com. —CE

Bach as Blueprint

NEW YORK CITY  In The Goldberg Variations, BWV 988, Anne Teresa De Keersmaeker uses one of Johann Sebastian Bach’s most well-known compositions as the blueprint for an evening-length solo. De Keersmaeker performs through the aria and 30 variations alongside pianist Pavel Kolesnikov for the North American premiere of the work at NYU Skirball. Feb. 22–24. nyuskirball.org. —CE

Liberating Lilith

SAN FRANCISCO  In Lilith, flamenco artist Fanny Ara uses the mythological figure—Biblical Adam’s first wife who abandoned Eden, variously interpreted as a force for evil or a symbol of female independence—to consider the weight of expectations imposed by herself and others, and her journey toward liberation. The evening-length solo work, premiering at ODC Theater Feb. 23–25, sees Ara joined by musicians Gonzalo Grau and Vardan Ovsepian. odc.dance. —CE

The post 9 Performances Heating Things Up This February appeared first on Dance Magazine.

But that outwardly spectacular performer has always nurtured her inner voice, too. In her post-performance life, Boykin has begun to share that voice through choreography, spoken word, and writing. Her Joyce Theater choreographic debut in New York City this month—during which her company, HopeBoykinDance, will premiere the evening-length, scripted dance-theater work States Of Hope—promises to reveal yet more aspects of Boykin’s distinctive creative language.

“It almost doesn’t feel real,” Boykin says. “[The Joyce] stage is so important to me. I’ve been able to work for so many names that have put me on that stage—but now it’s my name.”

Boykin grew up in Durham, North Carolina, where she began to nurture her creative vision as early as the fourth grade, helping to choreograph her school production of Willy Wonka. “My teacher told me she knew that I danced and asked if I wanted to help her make some steps,” Boykin remembers. “I have loved making things since then.” 

She started classes at Howard University but left to take a leap of faith, moving to New York City in pursuit of her dance dreams. She now refers to that period of her life as “sacrifice vs. need”: She lived on a friend’s couch, running from classes and work-study at The Ailey School to her part-time job at Capezio on 51st and Broadway. “I have done things that looked like sacrifice, but looking back, I see that it was a need,” Boykin says. “I didn’t understand the reason—I just knew that there was a reason.”

Boykin was invited to perform in the first Complexions concert by co-artistic director Dwight Rhoden, after he saw her in The Ailey School’s annual January performance. The next day, she took a bus to Philadelphia, where she auditioned for Philadanco. She danced there for six years under director Joan Myers Brown, who gave Boykin tools she would later use both inside and outside of the studio. “I learned so much from her about how she did her business, from working in the offices to steaming costumes and more,” Boykin says. 

While at Philadanco, Boykin also joined the faculty of University of the Arts, where she assisted the legendary Horton teacher and former Ailey dancer Milton Myers. She started honing her choreographic voice, too, creating works for Philadanco’s company choreography showcase. “It was here that I really started to get the ‘Hope-isms,’ ” Boykin says—the signature components of her dance language.

Boykin never let go of her desire to join Ailey. “It was the ultimate dream,” she says. In 2000, Boykin auditione­d for the company and was invited to join by then-artistic director Judith Jamison. During her tenure at Ailey, Boykin performed in a wide variety of works, a standout figure every time she walked onstage. Matthew Rushing—then an Ailey dancer and now the company’s associate artistic director, who has choreographed multiple leading roles on Boykin—describes her as explosive, timeless, and impactful. “I just remember her being able to articulate my dreams,” Rushing says. 

Though Boykin prioritized her performance work, she believed­ her time at Ailey served a bigger purpose. “By the time I left, I wanted to make sure that whoever crossed my path, whether a new artist, new choreographer, or guest teacher, that they felt welcomed and protected,” Boykin says. 

The ups and downs of a dance career don’t always foster self-love and reassurance. While performing, Boykin at times felt underappreciated due to her body shape and complexion. “I’m a petite woman that’s bald and undeniably Black,” she says. “I was up against a measuring stick that wasn’t even mine”—that measuring stick being the dance world’s problematic beauty standards. 

One of Boykin’s gifts to the dance world, and to those around her, has been her determination to never alter herself to fit a mold. Rather, with tenacity, resilience, and humor, she’s carved out her own space. Her uniqueness has become her superpower; her boldness has empowered the many dancers coming up after her. And her confidence to be unapologetically Black in every space has liberated others to do the same.

Despite the challenges of her performing life, “I was supposed to be there, and everything was on purpose,” Boykin says. “The time I spent hurting and growing was all organized. My steps were mapped out, decided, and ordered.”

Boykin’s deep passion for creation led to her founding HopeBoykinDance in 2016. Since then, she has made works for Ailey, Hubbard Street Dance Chicago, BalletX, Philadelphia Ballet, and American Ballet Theatre’s Studio Company. In 2018, Damian Woetzel and the Kennedy Center commissioned Boykin’s MomentsUponMoments, which she choreographed, wrote, and performed with then New York City Ballet principal and current Paul Taylor Dance Company resident choreographer Lauren Lovette. “Hope is the sort of artist whose light fills a space,” Lovette says. “She knits a tight physical bond to what you are saying with your body, and that force feels nothing short of cathartic after the curtain closes.”

Boykin’s dances often have a personal dimension. But States Of Hope—which features seven characters that represent her inner world, coming together like a memoir of sorts—is both personal and universal. “The parts of my life that have made me uncomfortable are fueling the creativity to share a story that I know is not just my own,” Boykin says. “I’m supposed to tell this story. I have to climb on top of this uncomfortable mountain and scream.”

Like much of Boykin’s choreography, States Of Hope also includes both an original score (by Ali Jackson) and Boykin’s own poetry. “I like to see movement through the music, like the nuances of trumpet, or a drum,” Boykin says. “I also tend to choreograph like I talk. And because I use my words in my movement, when setting it on a dancer, the choreography and text come together. It never fails.”  

Boykin’s future options seem endless, given her versatility, talent, and determination to leave a mark on this world. One definite goal? “I want a Tony or an Oscar,” Boykin says, with a chuckle. The two-time Bessie Award winner also recently received a New York Emmy Award nomination for her PBS ALL ARTS special “Beauty Size & Color,” which considers beauty ideals in the first two decades of this century.

Awards aside, Boykin’s most deeply held aspirations are characteristically generous. “I want to walk into a room and change the environment to the most productive, truthful space possible,” she says. “I want to carve away the things that didn’t work for my spirit, give the things that did, and leave that space with a little more hope.”

The post First As a Performer and Now As a Choreographer, Hope Boykin Has Nurtured Her Unique Voice appeared first on Dance Magazine.

Chicago’s leading repertory company struggled, as all dance companies did, during the pandemic. But years of turnover and financial challenges had been creating uncertainty well before COVID-19 lockdowns began.

In March, Linda-Denise Fisher-Harrell rounded the bend on two years in the artistic director’s chair. Picked to usher Hubbard Street through the turmoil and into a new era, Fisher-Harrell has proved a savvy and steadying leader, leaving her mark on the company while honoring its past. 

Fisher-Harrell is just the fourth director in Hubbard Street’s 46-year history—the first woman and first person of color to serve that role. Founder Lou Conte was artistic director for 23 years, followed by Jim Vincent and Glenn Edgerton.­ The company was not new to Fisher-Harrell; she had danced with Hubbard Street prior to a storied performance career with Alvin Ailey American Dance Theater.

When Fisher-Harrell auditioned for Hubbard Street in 1989, “I couldn’t take my eyes off of her,” says Conte, who was director at the time. “Nobody was as charismatic as her.”

Fisher-Harrell spent three seasons with the company. Though brief, her time there left an impression. The 19-year-old woman who arrived in Chicago in 1989 is often in her consciousness today.

“I was [at Hubbard Street] during the Tharp era,” she says, referencing a transformative multiyear commissioning project adopting new and existing works by Twyla Tharp. “When I envision Hubbard Street into the future, that’s the image that grounds me.” 

Fisher-Harrell leaned on Conte and former Ailey artistic director Judith Jamison as mentors as she navigated company leadership for the first time. “They were so powerful to me as artistic directors,” she says. “I’m asking for guidance or perspectives that I may or may not take. Either way, those relationships anchor me.”

A key priority from the get-go has been reconnecting with audiences. Before Fisher-Harrell’s directorship, a handful of highly entertaining programs were keeping the bills paid, like The Art of Falling (2014), a collaboration with The Second City, and Decadance/Chicago (2018), an evening-length assortment of Ohad Naharin works. But a critical mass of working-class Chicagoans failed to keep up with the company’s evolution toward a predominantly European aesthetic, culled from Vincent’s and Edgerton’s histories with Nederlands Dans Theater. Audience numbers had dropped off well before the pandemic, leaving some in the administration to question if they could continue to support a home season at the 1,500-seat Harris Theater for Music and Dance.

A cascade of additional challenges included several key staff turnovers. Executive director Jason Palmquist had left in 2017, replaced by ex-politico David McDermott. And when McDermott got his hands on the ledger, it was apparent that cuts were needed.

The company roster shrank, as did dancers’ contract lengths. In March 2020, the company’s affiliated Lou Conte Dance Studio closed. Perhaps the most symbolic loss was the sale of the company’s building at 1147 W. Jackson Blvd., its home since 1998.  

“It needed $3 million in roof fixes alone,” says McDermott.­ “From an investment perspective, it didn’t make sense.”

Linda-Denise Fisher-Harrell assumed leadership in 2021 at the height of the pandemic with her company in a beleaguered state. McDermott was on the selection committee. “She just got it,” he says. “She got Hubbard Street and she got Chicago—the richness and diversity of Chicagoland. It was clear to me that she was going to connect with Chicago and that the art she wanted to present was going to connect with Chicagoans.”

Fisher-Harrell was aware of the challenges. “This is the thing I was looking for, but I knew the state of affairs,” she says. “It felt like a reset, and I’m not afraid to create something out of nothing.”

As one of the few long-running repertory companies not named for its founder, Hubbard Street is in many ways unburdened by an obligation to honor Conte’s legacy. Still, Fisher-Harrell is committed to tapping into Hubbard Street’s roots. Conte, now age 81, is happy to be a mentor, but all parties are clear: Hubbard Street is Linda-Denise Fisher-Harrell’s company.

“I care a lot about what happens, but I don’t have any control of it,” he says. “I told her to follow her own lead and do what she thinks is right. She has good instincts.” 

A top priority for Fisher-Harrell was to turn her gaze westward and engage more American choreographers, particularly^­ choreographers of color. “I’m building a repertoire,” she says. “There are things in the past that I want to ­revisit…like taking out your old albums. There are going to be those reaches back. But as I reach back, I still want to build.­”

In two seasons, that catalog has included first-time commissions­ from in-vogue choreographers such as Amy Hall Garner, Hope Boykin, and Rennie Harris. Fisher-Harrell has also reengaged the company’s stake in Chicago, programming works by city natives Lar Lubovitch, Randy Duncan, Rena Butler, and Conte, who restaged his signature duet, Georgia, in May. And in rebuilding the dancer roster, now back to 14, Fisher-Harrell favored versatility—a necessity given the wide-ranging rep.

“I don’t want to turn my back on the European road,” she says. “All of the roads that were open to Hubbard Street, I feel like, are fair game.”

One of those roads was a relationship with Canadian American choreographer Aszure Barton, who set BUSK on the company in fall 2021. Barton will be Hubbard Street’s next choreographer in residence, beginning a three-year commitment this fall. Her residency looks like The Tharp Project: She will stage previous works on the company as well as make new ones. 

When Barton last worked with Hubbard Street, the company was rehearsing in a temporary, out-of-the-way warehouse space near the expressway, adjacent to a loading dock. It now occupies a sparkly, retrofitted storefront (previously an Adidas store) at the Water Tower Place mall on Chicago’s Magnificent Mile. 

The new space is a vast improvement, but still a temporary solution. As the company rebuilds, a permanent home is part of Hubbard Street’s long-term planning, as is reopening a school. Fisher-Harrell also hopes to add more dancers; perhaps reinstate a second company, apprentices, and a trainee program, to create more pathways to professional performance opportunities for promising young dancers; and to protect company dancers from burnout. 

All of that, she acknowledges, will take time.

“That’s dreaming big,” Fisher-Harrell says, “and I realize that we have to be fiscally responsible. I want us to approach [those dreams] the right way, so they last.”

Hubbard Street’s Next Generation

Alexandria Best

Raleigh, NC

BFA in dance, Pace University

Joined Hubbard Street in 2021

“Everyone is really here for the vision of Linda. The way that she has been involving so many different aspects from the Chicago community—I’m like, ‘Wow, this place is so fruitful.’ ”

Aaron Choate

Lexington, KY

BFA in dance, The Juilliard School

Joined Hubbard Street in 2022

“Hubbard Street is not one thing at all. I think that’s what is unique. I’ve never seen or felt a company that is so comfortable going so many different directions at the same time.”

Shota Miyoshi

Kanagawa, Japan

BFA in dance, SUNY Purchase

Joined Hubbard Street in 2022

“[Linda-Denise] always says, ‘The party’s on the marley.’ She always gives me a new mindset.”

The post Hubbard Street Dance Chicago Is Returning to Stability—And Its Roots appeared first on Dance Magazine.

Larry Busacca, Courtesy ABT

The post News of Note: What You Might Have Missed in November 2021 appeared first on Dance Magazine.

Beacon of Hope

Jerry Metellus, Courtesy Annenberg

A year after her final onstage appearance with Alvin Ailey American Dance Theater, Hope Boykin is only ramping up. This month, she makes her Philadelphia choreographic debut. The Annenberg Center for the Performing Arts plans to livestream HopeBoykinDance from its stage (sans in-person audience) as the small troupe—including Boykin herself—performs new works. The ticketed stream on March 11 will be followed by a Q&A; the program will be available on demand through March 13. annenbergcenter.org.

Grand Force

Scott Rasmussen, Courtesy GRB

Grand Rapids Ballet continues its digital season with pieces by no fewer than nine choreographers for its Collective Force program. Works by Danielle Rowe, Adam Hougland, Amy Seiwert, Katarzyna Skarpetowska and Trey McIntyre join premieres by Penny Saunders, Jennifer Archibald, Edwaard Liang and artistic director James Sofranko, whose piece features the music of cellist Jordan Hamilton. Tickets, outside of season subscriptions, begin at $15 and grant unlimited viewing for the duration of the program. March 26–28. grballet.com.

The post 3 Performance Streams You Won't Want to Miss This Month appeared first on Dance Magazine.

The show marking her retirement and celebrating her 20-year career with the company wasn’t supposed to happen for another two months. But a week after that March performance, the coronavirus forced Ailey to cancel the rest of its season. At first, Boykin thought there might be an opportunity to reschedule, but she quickly realized that live performances would not come back for months.

The post Hope Boykin Shares What It's Been Like to Retire During COVID-19 appeared first on Dance Magazine.

But pre-show routines are also highly individual, and involve artists preparing their heads for performance just as much as their bodies. That could mean anything from listening to a favorite song, bonding with cast members or meditating.

Feeling like your pre-show ritual could use a bit of inspiration? These 12 pros shared their tried-and-true routines with us:

Choreographer and Entrepreneur Jacob Jonas

“My company is very family-oriented. We warm up as a group and before the show like to huddle up and share any messages of motivation.”

Miami City Ballet’s Nathalia Arja

“I like to listen to gospel songs in my dressing room as I’m getting ready for my shows, and I will never get out there without praying. I dedicate every performance to God.”

Dancer and Choreographer Emma Portner

“I arrive hours early for mental preparation, abdominals, push-ups, caffeine and then ‘save it for the stage.’ “

The Washington Ballet’s Ashley Murphy

“I take a power nap, drink a Red Bull and take three Advil.”

Dancer and Choreographer Ephrat Asherie

“I have a very specific warm-up that I swear by. I also have a tradition of giving my dancers York Peppermint Patties before every show.”

Pacific Northwest Ballet’s Leta Biasucci

“For roles that are accompanied by nerves, I like to find time before a performance to spend visualizing the piece. I close my eyes and imagine how the ‘perfect’ performance would feel. I find this practice to be meditative and allows for me to feel more excited than nervous.

“Not necessarily a ritual, but I have to double-check my performance shoe ribbons and re-sew ones that look like they might possibly come unsewn. Who wants to spend a show worrying about shoes falling off?”

Martha Graham Dance Company’s PeiJu Chien-Pott

“I usually arrive at the theater much earlier than the call time. I set up my dressing room to create a feels-like-home space. I do my makeup and hair while I listen to some calm music. And right before I get onstage, I meditate for five minutes and ‘talk’ to Martha. Finally, I give the stage a kiss.”

Alvin Ailey American Dance Theater’s Hope Boykin

“My most important ritual is prayer. I simply ask that the audience will see the most honest artist in me. Despite the frustrations, feelings, aches and pains I may be experiencing, I long for the best performance to resonate in the hearts of those watching.”

Dancer and Choreographer Caleb Teicher

“I usually improvise to a couple songs by myself to get some creative juices flowing. Then, I try to find some quiet time so that listening to music onstage feels fresh and focused. I may eat some gummy bears, too.”

Ballet Dancer Joy Womack

“A nap, music, meditation, a solid class and a leisurely yet thorough warm up. Also, SECOND SKIN.”

Dutch National Ballet’s Michaela DePrince

“I always kiss the floor and then I pray and dedicate my show to someone in my family because most of the time they don’t have the opportunity to watch me perform.”

Choreographer James Alsop

“I close my eyes and whisper the most intimate prayer.”

The post Is Your Pre-Show Ritual Uninspired? Take A Cue From These 12 Pros appeared first on Dance Magazine.

Misa Kuranaga, principal dancer, Boston Ballet

Misa Kuranaga found that polishing her technique made the difference. Photo by Liza Voll, Courtesy Boston Ballet.

When Misa Kuranaga first attended an open call for Boston Ballet, she was in a vulnerable place. “It was right after I didn’t get a job at San Francisco Ballet,” she says. It was unusual for someone not to get a spot at SFB after apprenticing there. So, after she got cut from Boston’s audition right after barre, she knew she needed to do things differently.

“I decided to be jobless, go back to school and retrain from zero to fix my technique,” says Kuranaga. “I could only hide my weaknesses for so long, and I’d been stubborn about keeping my classical focus—that was holding me back.” She started taking advice about cultivating a more dynamic style, being exposed to more Balanchine and really integrating corrections in class. “I watched other dancers more, and as I became more open, it really clicked for me,” says Kuranaga. “I felt a difference in my turnout and footwork, but my legs almost weren’t the problem—my head was.”

Less than a year later, she took part in a directors’ showcase at the Monaco Dance Forum, an audition within a contemporary dance workshop, and received multiple offers—including one to join the corps at Boston Ballet. She became a principal dancer there in 2009. “I wouldn’t trade that detour for anything,” she says. “I love how I got here.”

Natalie Turner, swing, The Lion King on Broadway

Learning the business of Broadway was key for Natalie Turner. Photo Courtesy Turner.

When Natalie Turner walked into her first Lion King audition in 1998, she had just finished a scholarship program at The Ailey School. “I didn’t know what a Broadway call was like,” she says. “I was so nervous and untrained as a singer—I didn’t know how to project over the volume of the piano without screaming.”

After that first tough experience, Turner started working with a vocal coach and auditioned for The Lion King annually, always making it through every dance cut. “I grew tremendously once I had some practical experience on tour with The King and I, and I went on to be the swing for the Movin’ Out tour.” This ultimately helped her land her role at The Lion King after almost 10 auditions over nearly a decade. “The casting director called on my lunch break and said, ‘If you can swing Movin’ Out, you can swing anything,’ ” she says. “But what made the difference for me was better understanding the business of Broadway and putting in the work.”

Hope Boykin, company dancer, Alvin Ailey American Dance Theater

Hope Boykin turned audition rejection into fuel. Photo by Richard Calmes, Courtesy AAADT.

“My first audition for Ailey was completely illegitimate,” says Hope Boykin with a laugh. “As an Ailey School student you had to be asked to audition, but I snuck in—I would never recommend that, not only because a director won’t trust you but also because it didn’t matter. I got cut because I wasn’t ready.” Once she had finished school and was cut from her second audition, she thought her third would clinch it, but even after she was kept through the very end, she didn’t get the job.

Rather than getting discouraged, she got busy. “I made so much of that year—dancing with Philadanco, teaching, choreographing and just enjoying my life. By the time auditions came around again, I’d exhausted all the things I’d wanted to do. That was 18 seasons ago.” Helping with Philadanco auditions also gave her perspective. “I walked in less worried, having been in a situation where I knew what we needed for a piece compared to how many dancers were in the room,” says Boykin. “It could be that it’s just not your time. That doesn’t mean you shouldn’t continue to try. Instead, I used it as fuel.”

The post You'd Never Know It Now, But These 3 Pros Bombed Their Early Auditions appeared first on Dance Magazine.

We caught up with her for our “Spotlight” series:

What do you think is the most common misconception about dancers?

That we don’t have real jobs. I wouldn’t trade a moment of my career, as each experience has groomed me for the next, but is this a real job? Oh yes, it most certainly is.

What other career would you like to try?

I’ve been standing behind the camera lately as a director and choreographer, and loving every new experience it brings.

What was the last dance performance you saw?

The Ailey/Fordham BFA senior showcase of works by future choreographers. These young artists are on the way to saving the world.

What’s the most-played song on your phone?

“Wait For It,” sung by my friend Leslie Odom Jr. on the Hamilton soundtrack. [Ed note: He narrates Boykin’s r-Evolution, Dream.]

Do you have a pre-performance ritual?

The most important one is my prayer. I simply ask that the audience will see the most honest artist in me. Despite the frustrations, feelings, aches and pains I may be experiencing, I long for the best performance to resonate in the hearts of those watching.

Where can you be found two hours after a performance ends?

Snuggling up with my pillow after a long bath. I am a morning person, and my favorite meal is breakfast. There’s nothing better than a good night’s rest, so that I may start the day with the sun.

What’s your favorite book?

Jane Austen’s Pride and Prejudice

Where did you last vacation?

My annual trip to Miami. I simply love the early morning walks on an almost empty beach and taking my journals to write as the tide comes in and out.

What app do you spend the most time on?

Candy Crush Soda Saga. I’m embarrassed to admit it, but I know I’m not alone.

Who is the person you most want to dance with—living or dead?

I can imagine dancing in Mr. Ailey’s classic work Night Creature with one of my best friends, Matthew Rushing. And I’d love a simple dance floor jig with Michael Jackson.

What’s the worst advice you’ve ever received?

I will never forget being told that I had learned all I could where I was studying at the time, and that I should go and try something else. Ultimately, that is what I had to do, but I never worked harder to stay on the path I knew was meant for me. I would never speak to a student in such a way, but it didn’t deter me. It only pushed me toward my goals.

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