Archive for the ‘Interviews’ Category

The Joys and Travails of Dancing On Pointe in Bali

Friday, August 20th, 2010
Robin Gilbert Campos performs with Carlos Fittante in Bali.

Robin Gilbert Campos performs with Carlos Fittante in Bali.

Even under the best conditions, dancing on pointe isn’t exactly a cake walk. But imagine how much harder it would be to dance on cement or (gasp!) gritty, marble tiles? Impossible, you say? Well, ballerina Robin Gilbert Campos of BALAM Dance Theatre begs to differ. In fact, the highly adaptable dancer is performing this month in Bali on some of the most challenging surfaces–from mud to unsecured carpet! (Shudder)

Robin recently sat down with BALAM’s artistic director, Carlos Fittante to discuss the perils of pointe work in Bali: “Ballet and point dancing have a very specific training practice and environmental conditions, including being able to take ballet class and rehearse on a good floor on a regular basis. There is not an opportunity for any of that here in Bali. In this tour, we have had to rehearse on an outdoor cement courtyard, often wet with rain, mud and moss, while wearing our walking shoes. The temple stages we perform on are also cement with a thin carpet pieced together without being secured by tape, and sometimes the temple stage floors are bare marble tiles covered with grit. I have my point shoes rubberized as a precaution.” ~ Quote Robin Gilbert Campos

Be sure to read the rest of Robin’s interview here. You won’t want to miss it!

Amazing Costumes on a Budget: Savannah Arts Academy

Sunday, June 13th, 2010
The Wizard of Oz, Savannah Arts Academy - Lollipop

Lollipop

To kick-off our “Amazing Costumes on a Budget” series, we’d like to take a moment and introduce you to the talented Christina Powell-Dance Department Chair of the Savannah Arts Academy in Georgia. Christina knows all about creating fabulous, professional-looking costumes–without breaking the bank! When we asked if she’d be interested in sharing some of her best “trade secrets” with our readers, she eagerly accepted. So, if your dance production is in the middle of a financial bind, you might want to take a few notes. So grab a pen (or bookmark this page), and get ready to be inspired!

Class Act: So tell us, what initially prompted you and the Savannah Arts Academy to be “beautiful on a budget”? Was this something you’ve always done or did the current economy have something to do with it?

Christina Powell: Working for a public school in a dance department that is fully supported by fundraising efforts and ticket sales to productions (we receive no funding from the local or state government), we must be extremely creative with our funds. We must work around [financial] issues to be beautiful on a budget. We ask for a lot of help from local seamstresses who donate their time and sometimes even the cost of materials to create costumes for us. For tutus, we order the skirts with basques from Class Act Tutu and the matching basque fabric for the bodices. We then have parent volunteers or local costumers make the bodices for each dancer to complete the look. In addition, we sometimes work with fashion students from our local art college, Savannah College of Art and Design.

Class Act: Are there any specific actions that you take to do this? How does it all come together?

Christina Powell: Well, at the beginning of the year, I take inventory of our costume closet and create a list of the most wanted items that I’d like to purchase for the year. Two years ago, we ordered an entire set of white romantic tutu skirts from Class Act Tutu. This was our first big tutu purchase! In order to save money, we had the bodices made to complete the look. We used those tutus for a Swan Lake excerpt and for the Fairy Corps in Cinderella. We used them again this year for the Emerald City Corps during our ballet, “The Wizard of Oz”. Each time we use the white tutus, we change the decoration to fit the part. For the Emerald City Corps, a parent volunteer added emerald tulle overlays and a gold ribbon design on the bodice. The tulle was purchased in bulk from Class Act Tutu. Outside of ordering tutus, we also order other costumes that I feel like we’ll get a lot of use out of. For example, we ordered some Rockette-like white costumes that we wore in our Winter Dance Concert. We used them again for a local holiday event in downtown Savannah. The girls dressed up as snowflakes using these same costumes. Then in, “The Love of Broadway”, our final show this year, we used these costumes again with added gold accents to perform “One” from A Chorus Line. So, my advice is that you prioritize your costumes needs, determine what costumes you can get the most out of, and take baby steps each year until you create a wonderful costume closet!

Class Act: You know, I wonder how many other dance companies will read this and think, “Hmm. Why didn’t we think of that?” Now, I also heard that you re-decorate your tutus. Would you share some examples of that with us?
The Wizard of Oz, Savannah Arts Academy - Poppies

Poppies

Christina Powell: Yes, we do this a lot! For the lollipop tutus, I ordered that set of costumes at the beginning of the year. For our Winter Dance Concert, we used those tutus for a Sleeping Beauty excerpt. Then, we redecorated them for the Lollipop Corps for Wizard of Oz. We do this for all of our tutus. We always sew decorations onto the costumes so that we can easily take them off to change the look for the next performance. Never use glue! Also, skirt overlays are a great way to add color to costumes and to completely change the original look. The skirt overlays work best on white romantic tutus.

Class Act: Do you have any final words of advice or any “Top Tips” that you’d like to share before we close?

Christina Powell: It is so easy to get overwhelmed with costuming needs, especially if you are just starting to build a costume closet and you’re on a budget. When I took over as the chair of the Savannah Arts Academy Department of Dance, we didn’t even own a tutu! That was two years ago. Now, we own two complete sets of romantic length tutus (a white set and a pink set), a set of euro-tutus (red for the Poppy Corps for Wizard of Oz),  four romantic tutus for the Cinderella fairies (Summer, Spring, Winter, and Autumn),  and several pancake tutus (Fairy Godmother, Mazurka lead for Cinderella, Wizard for Wizard of Oz, etc). We have already used the white tutus in four shows, and the pink tutus in two shows. The red pancake tutu has been worn for the Mazurka lead in Cinderella, the Spanish variation for Nutcracker, the Don Quixote pas de deux, and the Poppy Lead in Cinderella!  Lots of use out of the red pancake tutu! Also, the winter fairy tutu was also re-worn by Glinda the Good Witch for Wizard of Oz. The best advice I can give someone wanting to build a costume closet, is to prioritize! Think about what kinds of costumes you need for your upcoming shows. Think about what you can get the most out of. Start basic (a set of white romantic tutus is a great place to start! They are so versatile and beautiful on stage!!!), and again–take baby steps! Breathe! And most of all, have fun!

Thank you so much, Ms. Powell! Your creative ideas are going to come in handy for so many dancers out there. We wish you and the Savannah Arts Academy continued success! If you’d like to learn more about the programs available through the Savannah Arts Academy or attend future performances, please click here.

Denise Opper ~ Media Relations

Stars of ABT Honor Legendary Alicia Alonso

Friday, June 4th, 2010

 

Alicia_Alonso

Alicia Alonso

“Alicia Alonso {director of Ballet Nacional de Cuba} accepted the sold-out audience’s adoring ovation at the Metropolitan Opera House from a central box seat before Thursday night’s American Ballet Theatre performance. But one sensed that this legendary ballerina, being saluted by the company with an evening to celebrate her 90th birthday, would find her way to center stage, and she did, culminating the boisterous, rousing event….

“Alonso (who actually turns 90 on Dec. 21) was a member of Ballet Theatre (as ABT was initially known) during its earliest years. Plagued by vision problems – over which she repeatedly triumphed — since early in her career, she is now virtually blind. Celebrated for the distinctive stamp she put on the role of Giselle, she also performed in many new ballets during the 1940s….” Read the full article from the Los Angeles Times here.   For added enjoyment, check out the interview with this fascinating ballerina in the New York Times.

Thoughts of Summer on Our Mind

Tuesday, April 6th, 2010

Now that summer intensive auditions are over, thousands of dance hopefuls are eagerly awaiting acceptance letters from their schools of choice. Whether you’ve been through the process numerous times or are just starting out, summer intensives are highlight and rite of passage in a dancer’s training.

Natalee wearing "Enchant" (Vala Dancewear Style #22108)

Natalee wearing "Enchant" (Vala Dancewear Style #22108)

With that in mind, I decided to take a moment and ask our very own Vala tester, Natalee Maxwell about her summer dance experiences…

Natalee writes:

My experiences with summer dance intensives have been really beneficial to my growth in dance. I have gathered priceless knowledge from my summer travels to Texas, California, and Washington. Since the training was so rigorous and effective, I was able to develop so much in a condensed period of time. I seemed to think that 6 weeks might seem too long to stay interested in a dance intensive, but I have learned that the time just flies by when you are learning and excelling so much.

Getting to know and be known by many impressive teachers from around the country is a total delight as well. With each teacher, I had a fresh take on their preferred techniques and styles. By having an open mind towards the teacher’s likes allowed me to become a better-rounded dancer, able to modify myself more easily. I also enjoyed being able to take part in classes with international dancers as well as Americans. I was able to see the caliber of dancers that were out there, and break free of my so-called “small town” of Albuquerque. It was important for me to venture out and see what bigger companies and programs had to offer.

As the audition season begins, I look forward to my summer training, as there will always be something new and exciting for me to discover in the art of dance.

We would like to hear of your summer experiences as well!  Send us an email. And who knows? We may be contacting you to share your summer intensive experiences as well!

Love, Passion and Dedication: Olivier Wevers & Lucien Postlewaite

Thursday, February 11th, 2010

Just like Valentine’s Day, the dance world is all about love, passion and dedication. From the gorgeous costumes to the sumptuous sets, to the swelling orchestral music to the supreme dedication to one’s craft, everything is cloaked and bejeweled in love.

In our first Valentine’s Day segment, we chatted with the talented Seth Orza and Sarah Ricard Orza of Pacific Northwest Ballet. Next up in our special Valentine’s Day feature, we’ll chat with PNB principal dancer (and Whim W’him Artistic Director), Olivier Wevers about his marriage to fellow PNB principal, Lucien Postlewaite.

Olivier and Lucien met while working at PNB. The couple later tied the knot in Santa Cruz, CA on November 2nd, 2008.

Lucien Postlewaite & Olivier Wevers  Wedding Day, November 2, 2008

Lucien Postlewaite & Olivier Wevers Wedding Day, November 2, 2008

Like other dance marriages, this handsome couple doesn’t have to deal with the stress of trying to balance a career with spending quality time with their spouse. “Our schedule is pretty similar, which helps with spending time together,” says Olivier.

Additionally, Wevers cherishes the many emotional benefits a relationship with a fellow dancer brings. “We understand and support each other, and know when the other needs a little support or criticism. It {the dance world} is a very mental world…it plays with your insecurities and your mind. Having a spouse that deals with similar issues really helps. Also, we push each other as artists. We have both the same set of values, and help each other identify what our priorities are!”

Pacific Northwest Ballet principal dancer Olivier Wevers as the evil Carabosse, and principal dancer Carla Körbes as the Lilac Fairy in Ronald Hynd’s The Sleeping Beauty.  Photo © Angela Sterling.

Pacific Northwest Ballet principal dancer Olivier Wevers as the evil Carabosse, and principal dancer Carla Körbes as the Lilac Fairy in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

This Valentine’s Day, Olivier will be up to his eyebrows in “Work, work, work!” However, the pair does have a quiet, relaxing getaway planned. “On Sunday, I will be performing a Duke in the Sleeping Beauty with PNB at 1pm, and then driving like a mad man to get to Bellevue. FRAGMENTS is being performed at 3pm at the Meydenbauer center. {This is for Whim W’him, Olivier’s new company.} Then after that, I am meeting with a videographer to get the DVD ready from the 3Seasons to send to presenters, Directors, etc. So quite a busy day, but finishing with packing for beach, sun and margaritas! (We’re) leaving for Mexico for a week without a computer or cell phone!”

Pacific Northwest Ballet principal dancers Lucien Postlewaite and Kaori Nakamura as Prince Florimund and Princess Aurora in Ronald Hynd’s The Sleeping Beauty.  Photo © Angela Sterling.

Pacific Northwest Ballet principal dancers Lucien Postlewaite and Kaori Nakamura as Prince Florimund and Princess Aurora in Ronald Hynd’s The Sleeping Beauty. Photo © Angela Sterling.

Now that sounds like my kind of holiday!

You can catch Olivier and Lucien performing at McCaw Hall this week in Pacific Northwest Ballet’s, The Sleeping Beauty . More information about upcoming encore performances for Whim W’him can be found by visiting WhimW’Him’s website.

Valentine’s Day with Seth Orza & Sarah Ricard Orza

Monday, February 8th, 2010
Seth Orza, Soloist and Sarah Ricard Orza, Corps de Ballet, Pacific Northwest Ballet.  Shown here in "Petit Mort".

Seth Orza, Soloist and Sarah Ricard Orza, Corps de Ballet, Pacific Northwest Ballet. Shown here in "Petit Mort". Photo © Angela Sterling.

 

Ah, Valentine’s Day! It’s the time of year when we shower our true love with tokens of affection, whether they be in the form of a box of chocolates, a gushy card, or a dozen roses (or all of the above!).

In the dance world, Valentine’s Day can be especially wonderful as couples not only live, but oftentimes work, together. We decided to get an inside look at the blessings of Valentine’s Day through the eyes of the dancers themselves. First up is Seth Orza and Sarah Ricard Orza of Pacific Northwest Ballet!

Class Act: “How did you two meet?”
Seth: “We met in New York at the School of American Ballet’s when we were both 13.”
Sarah: “We met at the summer course. Then we got together and started dating seriously when we were both at the School of American Ballet for their year round program when we were 17. And we’ve been pretty much together ever since then. We’ve been together now for 12 years and married for 2 ½ years.”

Seth Orza and Sarah Ricard Orza shown here at SAB Summer Course, 1995 (Age 14). Seth & Sarah met at age 13.
Seth Orza and Sarah Ricard Orza shown here at SAB Summer Course, 1995 (Age 14). Seth & Sarah met at age 13.

Class Act: “Congratulations, that’s wonderful! So what’s the best thing about being married to a fellow dancer?”
Sarah: “Well, I think that the dance world is just so small and intimate; sometimes it’s hard to explain or even relate to people who aren’t in the world on a daily basis—what’s going on, or what the daily ups and downs are like. So, if I’m having a bad day, Seth already knows why and that’s good.”
Seth: “We try to help each other out along the way through the pressures of ballet, performing, and all that.”
Sarah: “Oh, and travelling. If we tour, it’s great. It’s really nice to have your loved one with you when you’re going to all those places.”

Class Act: “How do you two plan to make this Valentine’s Day special?”
Seth: “Well…” he says with a sly tone, “it’s kind of a surprise.”
Class Act:(Laughing) “Oops! I don’t want to ruin anything!”
Seth: “We try to do something special every Valentines day, but it’s hard after twelve years to do something different every time.”
Sarah: “There was one year when I had the genius idea of getting chocolate covered strawberries from Godiva. So I got a dozen chocolate strawberries only to find that in the fridge at home, Seth had also gotten a dozen Godiva strawberries!” she laughs.
Seth: “We had a lot of chocolate strawberries!” he chuckles.
Class Act:“Great minds think alike! So, do you have any last words of advice for fellow dancers out there?”
Seth: “It’s nice being in a relationship with a co-worker—or a dancer—and it does work out.”
Sarah: “It’s definitely a balance, though. I mean, we’re together at work all the time and then at home all the time. So sometimes there’s days when one of us has to step back and take some space—be it at work or at home. You just find that balance with spending all of your time together.”

Seth Orza and Sarah Ricard Orza on their Wedding Day

Seth Orza and Sarah Ricard Orza on their Wedding Day

Class Act: “Do you ever have a day when you really don’t want to be with the other person but you still have to work with them?”
Seth/Sarah: “Oh no, never!” they laugh in unison.
Seth: “Of course, but I think that happens in any relationship.”
Sarah: “We have partnered together a lot, and that has challenges…”
Seth: “Yeah, working together professionally…I mean, if she’s just around it’s one thing, but if we’re working together, it’s kind of hard sometimes.”
Class Act:“Well thank you both so very much! I really appreciate you taking the time to do this and I hope you have a wonderful Valentine’s Day!”
Sarah: “Thank you! You have a happy Valentines Day, too!”

by Denise Opper, Media Relations Class Act Tutu & Vala Dancewear

Whim W’Him Part Three

Wednesday, January 13th, 2010

In Part Two of our interview, Artistic Director Olivier Wevers revealed some of the challenges he’s had to face since birthing his new company, Whim W’him.  Continuing now in Part Three, Olivier shares the ways in which Whim W’him will be a unique force in the world of dance…

Hannah Lagerway, Whim W'Him

Hannah Lagerway, Whim W'Him

Class Act:  You speak a lot about collaboration and the process of creating new works. In what ways will Whim W’him be different from other companies? How will it be unique?
Olivier:  One of the things I’m trying to do with this company first is to bridge the dance community a little bit. Because what I’ve witnessed in Seattle over the past 13 years that I’ve been here is all these different dance communities—ballet, modern, contemporary, independent artists—everybody’s trying to do their own thing. And I really want to try to bridge that gap. I mean there are so many wonderful artists and I don’t think you need to be selective of one style and classify that one style either. In the way I pick the dancers—having PNB dancers, those classically trained dancers, Spectrum dancers that are dancers that usually dance barefoot, and then some independent artists in town—I’m trying to put all those dancers that would usually not get to work together, get to work together. It’s bridging the communities in Seattle and I want to bring back artistic collaboration.

Another thing that I’ve witnessed as a dancer is that so many people are blaming the economy that is so bad right now. So everybody is trying to do something like, “We’re going to create this ballet but we’re going to use this in-house designer, in-house lighting director, etc and we’re going to try to make it so that we don’t have to pay the orchestra overtime and such”. The resources are really limited, and it’s not just here but all around. So one of the things I really want to bring back is collaboration. Some of the greatest works to me are the ones that had a composer, a designer that was brought in, a few artists working on it, and a few dramatizers working on it. I want to go back to that. I want to be able to collaborate with other artists.
It’s been really rewarding because for the past few months I’ve been working with a composer, with a costume designer, a fantastic lighting designer—they’ve all brought so much to the work, so much more than I could’ve envisioned just on my own.
I get to do this because I’m also the one doing all the fund raising, so I know this is going to cost a lot more—it’s going to take a lot more time, more resources. But that also motivates me to work harder (at fund raising) so that I can do all the things that I want to do.

Jonathan Porretta, Whim W'Him

Jonathan Porretta, Whim W'Him

Class Act:  That’s fantastic! I would love to see that happen again. It’s been years since you would even heard about any sort of collaboration going on.
Olivier:  Yeah, that’s right! I see how it happens behind the doors. It’s not about the process anymore. Choreographers 20 years ago would spend months in the studio. For example, some people say Jerome Robbins was a genius, but he never just went in the studio and created a piece in two weeks. It took him months and he would re-work it, and re-work it, and re-work it in the studio. It was all about the process as well as the product. Then adding in collaborators as well—sets, music, designers. None of that exists anymore. The process now is, “How fast can you choreograph?” and then “Can you use this in-house person for this and that?” Not that these people aren’t talented, but when the work becomes so in-house, there’s no inspiration. Those people—the costumers, etc—don’t feel like they can say anything, so there’s no artistic exchange going on. It’s important for artists to be able to pick their own collaborators. You need to work with people you have an interest in working with and those who will inspire you.
Class Act:  I’m really glad that your whole basis is about the process. It’s nice to see there are people like you who choose to develop as a dancer, and create a work of art rather than just a performance.
Olivier:  You know, what happening a lot in ballet is that we’re settling. Yeah, it looks pretty and someone can produce it really fast. But imagine if that person could’ve spent another three weeks or a month or two on it, and could’ve worked with those other people gathering more ideas. Ballet to me is starting to look a little like a museum piece where you see the same things over and over. We need to keep ballet alive. I love all the pieces but if that’s all you’re giving, people are going to get bored with that. You need to push the artists, push the envelope. Discover new ways of connecting to the audience; discover new ways of doing ballet.
Class Act:  I agree 100%. Years ago the character development was very different from what it is now. Dancers had to convey their character through every inch of their body. It wasn’t just “Here are your steps”. You had to make your character breathe through every inch of your being.
Olivier:  That’s not what’s happening anymore. Once you know your steps, you get a show. I remember when I first started 20 years ago in Canada, I was coached my first time in Giselle. And I don’t know how many hours I spent in the studio just learning how to walk! You know, this ballerina from Russia was making me cry because I couldn’t do it right. I didn’t know how to walk on stage! And none of that is taught anymore; everything is just kind of taken for granted.
When creating Whim W’him, I chose that name because I didn’t want it to be all about me. Like the Olivier Wevers project or company. I didn’t want that. I’m interested in bringing in different choreographers to work with these dancers of different backgrounds in the future. Therefore, I need to do more fundraising so I can start doing that. I want this to become a really collaborative and versatile company.

Check back soon to read our forth and final segment where Olivier reveals some of the exciting upcoming reps from Whim W’him, the dancers who inspire him most, and his advice for budding artistic directors!

Read more about Whim’Whim’s Performances January 15-17

Tickets are SOLD OUT for this event but there will be a wait list each day starting at noon on Friday, and 3PM on Saturday and Sunday!  On the Boards box office 206.217.9888


Whim W’Him Part Two

Tuesday, January 12th, 2010

Interview: Olivier Wevers

Part One of our exciting interview with Olivier Wevers detailed the purpose and mission behind his exciting new company, Whim W’him. Now in Part Two, Mr. Wevers speaks openly about the many changes that have occurred—both professionally and personally—since the birth of Whim W’him….

Kaori Nakamura, WhimW'Him

Kaori Nakamura, WhimW'Him

Class Act: How has your life changed since your company’s inception—as a dancer, as a choreographer, an artist and as a person?

Olivier: (Gasping)  Oh my god—it’s totally changed!  I mean—(laughs)–I have no more days off.  That’s just being busy.  You know, every day off that I have, I’m trying to schedule a meeting or I’m working on the computer.  Usually my life before—the focus was really on being a dancer, which was really kind of selfish, because it was really just about the work I was doing.  So, I would wake up in the morning, get ready to dance, and when I was done dancing I could relax and do what I wanted, and I had days off that I would enjoy.
Then I started choreographing and doing commissions for other places, and started having to run around town.  So, the last few years when I was choreographing, for Spectrum for example, I would rehearse at PNB until 3 and I would make sure to schedule a rehearsal for 3:30 at Spectrum—which would give me just enough time to get there—so I’d usually be eating in the car on the way there.
Now on top of that, I’m also running this company, trying to do fundraising, scheduling–I mean everything.  I’ve been doing absolutely everything and it’s been crazy!
Class Act: And yet, would you change anything about it? Would you go back to the way it was?

Olivier: Well you know, it’s interesting because there are moments when I’m like, “What am I doing?  Why couldn’t I just live the way I was living, and just have time to relax, breathe, and not have so many responsibilities?”   I mean, there are huge responsibilities that come along with all of that, and then there’s the pressure.  I mean, there have been days where I just wake up and I don’t know where to start.   I don’t want to do anything and I’m like, “Can I just—go shopping?” He laughs.

Class Act: (Laughing) But no, you can’t!
Olivier: Right! So like, I’ve been asking my friends, “Is this “depression” or is this “overwhelmed” where I wake up and I just want to go back to sleep?
Class Act: Oh, I’d like to say it’s the latter. But that makes sense. We all get so used to a certain way of life. Then one day we decide to turn everything upside down, shake it, then stand back and ask ourselves, “Now what?”

Lucien Postlewaite, WhimW'Him

Lucien Postlewaite, WhimW'Him

Olivier: Right!  Exactly!   Also what has changed is that I don’t get my 8 hours of sleep anymore. Which I really loved to get when I was just a dancer; I really needed 8 hours of sleep!  That has come down a lot. Now, I wake up an hour and half earlier, and for more than an hour, I’m sending email and working on the computer.
Then I take my class; usually after class I have phone calls to make or emails that I have to check.  Then when I have a full day at PNB, usually all I have time to do at night is come back here and finish my work and try to do it on my days off.  When I don’t have too much rehearsal at PNB, usually I’m rehearsing for the show that’s coming up in January, or doing my fundraising, or contacting presenters for future touring, or scheduling rehearsals.
Recently we had this big fundraiser.  I had a volunteer who did so much work for me, which was great. But after that, I had to write more than 50 cards thanking the donors.  So there’s always work to be done. Constantly people that need to be talked to—lighting designers, composers, dealing with the costumes—I mean, it’s every aspect that I’m working on.  So usually, throughout the day, I don’t stop.
Vala: It doesn’t sound like it! It sounds like you’re running around like crazy.
Olivier: Yeah, it’s constant but it’s really exciting, too.  Actually, last night I went and saw a movie.  I mean—I just had to get out for a little bit.  So I started watching the movie, and then I realized—for like a minute—that I wasn’t even watching the movie.  Instead I was thinking about all the things I had to do!  And I was like, what am I doing?  I came here to escape!  So, I told myself just escape and I’ll deal with this in two hours, he laughs.
Vala: Oh goodness! So were you able to successfully turn your brain off after that?

Olivier: I was, I was. But only after I caught myself looking at the screen thinking, I don’t know what’s going on! I’m busy thinking about things I have to be thinking about.”

Coming up in our third installment, Olivier reveals the unique qualities that not only set Whim W’him apart, but also breathe new life into the global (and local) dance community!  Check back soon to read all about it!

Mark your calendars for the premier of 3 Seasons January 15-17, 2010 at On the Boards.

By Denise Opper

Media Relations: Vala Dancewear/Class Act Tutu

Whim W’Him! Part One

Sunday, January 10th, 2010

Interview: Olivier Wevers

Olivier Wevers is the embodiment of a classically trained artist. As a Principal dancer with Pacific Northwest Ballet, Olivier has left his own indelible mark of perfection upon each role he’s portrayed. He is not only a seasoned artist, but a prolific and highly acclaimed choreographer, receiving numerous awards and accolades for his impressive work and unique style.

Earlier this year, Olivier embarked on an exciting adventure of epic proportion. In collaboration with some of the most highly respected dancers from the Pacific Northwest, Olivier launched Whim W’him, a company designed to “provide a platform, centered around choreography and dance, for artists to explore their craft though innovation and collaboration.” (Quote Whim Whim.org)

Recently, Mr. Wevers took time out of his hectic schedule to answer a few questions from Vala Dancewear’s media liaison, Denise Opper. In part one of our series, Mr. Wevers reveals the inspiration behind Whim W’him….

Whim W'Him

Whim W'Him

Class Act: First of all, I want to thank you, Olivier, for taking the time to do this.  We all truly appreciate it.

Olivier: Oh, absolutely.  I appreciate it as well.

Class Act: Let’s begin by discussing the inspiration behind your new company.   What made you decide to go ahead and branch out on your own?

Olivier: Well, I have been choreographing for  7-8 years and, over the last few years,  I have been getting a lot of commissions.  Which have all been really great, but I’ve also been getting frustrated with how it all works.  You know, you only get a certain amount of time with a certain amount of dancers; sometimes they even give you the dancers. Then usually there’s no budget, it’s always as cheap as you can make it happen, how much product you can produce, and it has to be successful.  The final product has to be successful; they’re not really interested in the process behind it.  It just has to be something that will be enjoyable for the audience.
Also, when you make pieces on different companies like that, you have to kind of set it to their style and their certain “voice”.  So you have to watch what you do, and make sure it is really going to fit that company.  It’s all been great and I love creating new works, and love working on these kinds of projects, but I’ve been kind of frustrated in my own artistic development, and I wanted to kind of “explore” more.   You know, have more time to rehearse, have dancers that I really admire, and that are really going to push me.  Then I wanted to not have to tell anybody, since this is my company, why I’m doing this or that, you know?  And if I fail, I fail.   I’m the only one responsible. But then that only means that I’m going to have to work harder to get the audience to come back.  I don’t have to prove anything to anybody, and I don’t have to fit anybody’s voice.  I can really do what I want to do.

Olivier Wevers, Artistic Director - Whim W'Him

Olivier Wevers, Artistic Director - Whim W'Him

Class Act: That is an excellent reason and answer! You’re right; when you’re working for someone else you have to make it fit their style, their voice.  But sometimes you just don’t have enough time to really get to know their voice, and yet you still have to make that product happen—yesterday.

Olivier: Right, absolutely! It happens so many times where I’m really crushed for time and I don’t have time to rehearse, so I finish it the day before the show, and they don’t have time to really sink their teeth in.  And it’s choreography that I don’t really get the chance to explore.  It’s like I just throw it at them, like—”there it is, you have it, go do it”.    It’s been great that way but now I’m really looking forward to having more time to explore.   Actually with Whim W’him, there was a piece I choreographed in June.   I videotaped it and watched it;   I wasn’t happy with what I ended up with so I just scrapped it completely.  But, really, that’s only a luxury I can afford by running this company and doing this with the time that I have.

Stay tuned for Part Two of our interview with Olivier Wevers where he candidly reveals how his life has changed since the birth of Whim W’him! You won’t want to miss it!

If you are in the Pacific Northwest, you can see Whim W’Him at On the Boards for the premiere of 3Seasons, January 15-17, 2010 as part of the Northwest Series. 

Get your tickets, they are selling fast!

By Denise Opper

Media Relations: Vala Dancewear/Class Act Tutu

Interview: Pacific Northwest Ballet Soloist, Lindsi Dec – Part Two

Tuesday, December 15th, 2009

In Part One of our interview, Pacific Northwest Ballet soloist Lindsi Dec spoke candidly about her recent marriage and how she began her dance training. Now in Part Two, Lindsi shares what a typical day is like for her, as well as the challenges of being a tall dancer…

Class Act:  Lindsi, the long lines you and your taller peers are able to create are just exquisite!  Would you mind telling us what it’s like to be a tall dancer, and how this fact has enhanced or challenged your career?
Lindsi:   Hmm. That’s a good question. Well, as a taller dancer I’d have to say it’s actually a bit harder to control my extremities than a dancer of average height. It’s a tough process for us (tall dancers) – in my experience anyway – to make it all come together with beautiful lines. My core wasn’t strong enough, I was very weak—I still am in fact, so I have to do a lot of cross training. But it makes us unique and helps us stand out a bit, which is great.

Class Act:  I never looked at it that way before. I often assumed–probably like most people–that being taller was more of an advantage in the dance world than not.  Thank you for being so open about that.  Ok, here’s a question I know our readers are dying to have you answer! What does a typical day look like for you?

Lindsi:   A typical day for me is full of dancing! I wake up at 8am and get ready for the day, including making a lunch full of snacks that will last me until 7pm.  I like to eat a lot during our breaks to allow my body to refuel for the next rehearsal.
I leave the house by 9:15 am and am in the studio by 9:50 am.  It is at this time, I tape my toes and warm-up.  We have class from 10:15- 11:45am.  Class is very important because it prepares and warms up the body for the rest of the rehearsal day.  It is also a great opportunity to improve one’s technique.  We have 20 minutes after class to rest up, snack, and see what pointe shoes are going to work for various rehearsals.  Our normal rehearsal schedule is from 12:05 –3pm with 5 minute breaks each hour.

Lindsi Dec, Soloist, Pacific Northwest Ballet wearing Vala Dancewear's "Bombshell" Leotard

Lindsi Dec, Soloist, Pacific Northwest Ballet, tapes her toes wearing Vala Dancewear's "Bombshell" Leotard

We have lunch off from 3-4 pm.  I normally try to work out at that time because cross training for the body is extremely important.  I do strengthening exercises and weights.  On some days, depending on my rehearsal load, I will also do cardio.  From 4:05-7pm, we have our last three hours of the day.
Each day is different though, we may have 6 hours of rehearsal or one hour.  It depends on the rep we are doing and how much we are dancing.  Then, it’s back home to a nice dinner and relaxing before I go to bed at 10pm. Yes, I know, it’s very early, but my body needs at least ten hours of sleep or else I am not a happy camper the next day!

….Check back soon to read the third installment where Lindsi discusses her partnership with Vala Dancewear, her hobbies, and favorite roles!

by Denise Opper, Media Relations:  Class Act Tutu & Vala Dancewear