DanceLife Blog

Tasmanian born and trained dancer Lockhart Brownlie moved to Sydney in 2007 to follow his dream of being a dancer. 3 years later this in demand dancer has danced in the musical phenomenon Wicked and has just filmed an episode of Glee in the US for the Britney Spears episode. DanceLife caught up with Locky while in LA.

1. You grew up in Tasmania and moved to Sydney in 2007 where you completed a Certificate IV in Performing Arts at Brent Street. How hard was it for you to pack up and move to a new State? What was the biggest challenge for you once you got to Sydney?

Moving to Sydney was a major step for me and my family. I always new I wanted to move to Sydney and attend Brent Streets Studio's Full Time Course so for me it was an easy transition. I did have one big challenge and I guess for a lot of people who come from small dance studios and attend a Full Time course, especially one with very high expectations and prestige, is making yourself stand out from the rest and showing as much of your dancing ability as possible. As a boy it was a lot easier, as there were only a small handful of boys in my year but it's still the same fear that a lot of people deal with. You need to be confident in who you are and think why you were chosen in the first place.

2. Auditions for full time courses are currently happening. What advice would you give to anyone auditioning for a full time course?

Auditions are scary and they never seem to get any easier. Never let your nerves take over your body. Try not to judge yourself against other people in the room, try and be totally focussed on what the audition panel is asking of you and remember why it is your there. TO DANCE.

3. You were selected to join the cast of Wicked which played in Melbourne for 13 months. What was it like being a part of such a successful show, also your first musical?

Being a part of Wicked was Amazing. Wicked was my first Musical and I was cast in the show fresh out of Full Time. Not only was it my first payed job doing what I loved but it was the biggest thing to hit Australia. I think the most memorable part of the whole process for me was the rehearsals and the creation of the show. Being a part of something with the amount of special effects, great music, great dancing and an incredible cast that Wicked had, was something really special to watch grow and come to life.

4. Dancers get hungry and curious in this country and tend to check out LA at some stage in their dancing life. While you were there for 3 months you signed with agency MSA. What was the process for getting in front of them and then taking you on?

I was lucky enough to be in LA when Agency MSA had their auditions. MSA hadn't held an open audition in like 5 years, so it was a pretty big deal for everyone over here. Over 400 people attended this audition and it was my first experience auditioning in America.
The audition consisted of a Jazz section and a Hip Hop section. The Jazz was taught by Mandy Moore and Hip Hop by Tony Czar. The studio was small and we had to learn everything in multiple half's. There were no cuts and no-one was really told anything on the day of the audition. It wasn't until a few weeks later when I was visiting NY that I received a call and email saying I had been accepted into the agency. I flew back to LA to meet with them and it all went from there.

5. The process of getting a VISA is always difficult for us Aussie dancers. What's some advice you could give someone who is looking to get their O-1 VISA?

Obtaining your O-1 working visa is a lot of work but definitely worth it in the end. Some advice I would give people who want to apply for their Visa is to start researching about it now, because it takes at least 7- 9 months of emailing lawyers/Attorneys before it gets approved.

6. You are currently over in LA and have just filmed a scene for Season 3 of GLEE with Britney Spears. Tell us about this experience and how you got this gig?

Filming for the hit TV show Glee was an amazing experience. The Episode is dedicated to Britney Spears but unfortunately I did not get to meet her. The episode is about the character from the show 'Britany' played by Heather Morris, coming in and out of dreams that she is actually Britney Spears herself. Britney appears on the episode but from what I heard only as an actress. My involvement in the show was being a dancer in a re-enactment of one of Britney's hit music videos "Me Against The Music". Heather Morris who plays Britany in the TV show is Britney Spears in this Video Clip and the whole set and costumes were created exactly like the real music video. Was a really exciting time for me especially as it was my first job here in LA.

Interview by Clint Salter

DanceLife is thrilled to be able to catch up with Adam Garcia while he is in London touring with the Tap Dogs. We spoke with Adam about his career to date and also about coming home to do the Tap Dogs in January.

1. You started your tap performing career playing Slide in the Australian touring version of Hot Shoe Shuffle before it went London. How does it feel to be coming home all these years later with the Tap Dogs doing what we originally know you as, a tapper?

It's wonderful. Staying in London was never my plan but the opportunities that London presented me with were life changing. Coming home to dance again if very fulfilling.

2. To some younger Australian dancers they may recognise you from your recent judging spot on the hit UK television show Got To Dance alongside Ashley Banjo and Kimberly Wyatt. What was the process you went through to get this gig?

I had met the producer on a UK TV breakfast show - "The Big Breakfast" when Hot Shoe was first in London. The meeting came quite randomly & was luckily just a process of agreement.

3. You have been in London for quite a while now, a home away from home. What qualities as a performer and personality do you believe you posses that have kept you successfully working all these years?

I think I do have a quite belief in my abilities. Or rather I like to challenge myself & so simply put myself up to attempting all sorts of different things like film & TV. I have failed numerous times but in this industry that's just par for the course. I also think when I am in work I work very hard. I have an Australian work ethic. David Atkins & Dein Perry helped instil that in me.

4. Wicked is having a phenomenal season currently in Australia. Tell us about your experience playing Fiyero alongside Idina Menzel and Kristin Chenoweth in 2002?

To be honest I didn't know who they were when I did the workshop in NYC back in 2002. I don't keep up with musicals that much but they were lovely people & amazing performers. I didn't even recognize Stephen Schwartz! But I did work it out fairly quickly that I was with a very special bunch of people. I do regret a bit not being able to open the show in NYC but I was invited to do the show in London & it was an immense privilege. It's the BIGGEST show ever.

5. You are currently touring with the Tap Dogs in London before coming to Sydney in January. What are Australian's like to work with compared to the British?

I think theatre people are kinda the same all over

6. What's next on the agenda for you after your commitments with the Tap Dogs?

I have the new season of Got To Dance in the UK. That takes me up to March next year. I rarely know what I'm doing more than 6 months in advance. I like that about my life.

Tap Dogs will return to Australia on 5 January for a five week season at the Capitol Theatre in Sydney. For more details go to www.tapdogs.co.uk

Job title?
I am the founder of ‘J-Foxx Entertainment' Pty Ltd a production company creating entertainment for corporate shows and special occasions. I produce, direct and choreograph shows, video clips, commercials etc. Some credits include:

TV Shows: ‘So You Think You Can Dance', ‘Top Model'. Artists: Guy Sebastian, Shakaya and Deni Hines

Corporate Companies: Mercedes, BMW and Xbox.

In addition to that, I'm one of the Directors of ‘Urban Dance Centre' in Glebe where I also teach.

How did you start choreographing?
I've been choreographing for 20 something years, since a very young age and I was lucky enough to start choreographing for my parents production company ‘International Entertainment' Pty Ltd. Prior to this I studied different styles of dance both locally and internationally styles include: Ballet, Jazz, Contemporary, Tap, Musical Theatre and taught myself Hip Hop.

What inspired you to be a choreographer?
My parents are both in the entertainment Industry - they had a French Cabaret called ‘A Touch Of Paris' that used to travel around Australia and Asia. I loved watching the dancing and singing and couldn't wait until I was old enough to perform in their show.

Does choreography require professional dance experience?
I definitely feel that professional dance experience is essential for choreographers; I feel that my experience in the Industry both in Australia and Overseas is very important as each experience (be it good or bad) has provided essential tools for me as a choreographer. If you have been a Dancer you know how Dancers think and can often communicate your vision in a way that performers can relate to.

I've performed around the world in some amazing shows with Elton John, Liza Minelli, Starlight Express (the musical) A Radio City Music Hall Rockette in NY, USA, this has allowed me the opportunity to discover and learn what an audience responds to, what they don't and why something can work in a live show but doesn't work on camera and vice versa. Often by experiencing it first hand my understanding runs deeper. Personally, this profoundly translates into my creative and artistic expression.

Dancing as a career?
Many people think that dancing is not a serious career. I've lived my whole working career/life as a dancer/choreographer in the Entertainment Industry. Earning a living and being independent from a very young age: Travelling around the world, working with many Super Stars, Musical Theatre Productions, Corporate Companies and Self Devised shows. Dancers are the physical story tellers and as Artists we take our dancing very seriously, continually improving our art-form and having the discipline of an athlete when it comes to training and continuous self development and improvement. Dancing is a lifestyle more than a career. We live and breath to dance. We love dance.

Jets favourite dance style/genre and why?
My favourite music is R&B and Hip Hop My 2 x favourite dance styles are Lyrical Jazz and Hip Hop. I love expressing my emotions through dance and a lyrical jazz routine is a beautiful way to interpret an R&B ballad and tell the story through dance. Hip Hop is a style that I've been passionate about since I was very young, watching video clips of Michael Jackson, Janet Jackson and Prince, I taught myself until I went to the USA which was the only place I could find offering Hip Hop classes. Nowadays there are Hip Hop classes everywhere, which for me is very exciting as now Hip Hop is a recognised, known and respected, continuously evolving and multi-faceted dance style.

On a lighter note, can anyone become a professional dancer?
Absolutely, if you can walk, you can dance! You need patience, persistence and practice! At Urban Dance Centre we have all walks of life take our Absolute Beginner Classes and untrained students come along with their friends to learn a few moves. Everyone of them have a fun time and walk away with some new moves and more confidence in their abilities + a little extra coordination ;) !

Career highlights?
• Having a finished piece of choreography be well received by both the audience and the performers. • Seeing dancers come out of my class, workshops or performances inspired, elated and enlightened!
Career challenges?
Juggling UDC, J-Foxx and trying to spend time with my Husband and Baby Girl (my most favourite thing)! I wish there were 2 or 3 of me to go around :)

Jets most memorable moment on stage/ so far?
My most memorable moment was working in Monte Carlo performing in the amazing Monte Carlo Sporting Club with Elton John, to a capacity audience filled with royalty from around the globe. It was an amazing and surreal experience seeing Kings and Queens with crowns, diamonds and purple capes watching you dance.

Jet and ‘So You Think You Can Dance' AUS
• ‘So You Think You Can Dance' and Myself. SYTYCD has really helped put Dancing on the map and allowed people, who may have never understood dancing, the opportunity to learn and understand a little more about dancing as an Art and appreciate the incredible commitment and handwork that goes into being a Dancer and some of the joy that goes along with it.

• Season 1: I choreographed 6 routines on SYTYCD, Hip Hop and Lyrical group pieces and duo's. They were very well received with all the judges Jason, Matt and Bonnie and also the Executive Producers and the audience.

• Season 2: I joined the production team to work on the entire audition process and behind the scenes advising and directing within the creative process of the show, choreographed a few group pieces ‘If Your Out There' Lyrical and ‘Kill Bill' Hip Hop in the finale. I was also featured in the SYTYCD book.

• Season 3: Travelled around Australia working with the auditions for SYTYCD 3, and am on the judging panel within Top 100 week and choroegraphed a number of routines for the season.

Juliette JET Verne Founder and Director of J Foxx Entertainment Pty Ltd and Urban Dance Centre Pty Ltd

Steven Grace spoke to me from a hotel suite in Melbourne recently. I was lucky enough to catch him during one of his many ports-of-call. As it happens, Steven is always on tour and remarkably, always the perfect person with the right talents, to fill someone's shoes, sometimes at the last minute. His career to date is impressive and the future is ripe for this jack-of-all-trades and master of several.

From the age of 10 years old, Steven Grace was already mixing with Australia's finest choreographers when he was chosen to work with John (Cha Cha) O'Connell on Strictly Ballroom. Steven achieved work straight out of school, winning a contract at the casino in Cairns under the direction of William Forsythe. This was to establish a working relationship with William, which would later influence his career. Allow me to explain....

Steven successfully auditioned for Dein Perry's (sequel to Tap Dog's) Steel City, which toured Australia and also appear at Radio City Music Hall in New York City, ‘which was great and a lot of fun', enjoys Steven. This all led to an extraordinary run of film-work for the young performer; Dein Perry used him on Bootmen, then back working with Cha Cha on Moulin Rouge for a year and a half, then straight onto the set of Scooby Doo, filming in Queensland where, unfortunately he suffered an injury, which saw him in need of physical rehabilitation for a year. Fortunately, a full recovery was achieved and Steven moved on to appearing at the Sydney Opera House with Caroline O'Connor in her cabaret show From Stage To Screen, co-starring Renee Berry, Lita Stathis, Ashley Wallen and Matt Lee. A tour of Asia ensued with the high-energy dance show Fame, after which he returned to Australia to join the cast of the Queen musical We Will Rock You. Not a bad start to the career mate.

An ex-employer in William Forsythe booked Steven, after a remarkable beginning to an already impressive career, to dance in the Cliff Richard concert, which toured Europe. This was literally Stevens' ticket to London and a Pandora's box of opportunities. I asked Steven if he found it hard to find work in London? ‘It was all new to me, it was quite a culture shock, picking up and moving to a foreign country, so it was quite foreign to me at first'. He explains that after shopping around for an agent, ‘I did a few gigs and things picked up from there. I got a campaign for a pop star over there ‘Javine', after not very long and that gave me work which was great', Steven continues, ‘You see, if you get a campaign to launch one of their singles, you're set for a few months'. I was a bit confused as to how the industry works in London and Steven clarifies, ‘In London you can have as many agents as you want for commercial work, first in best dressed. Whoever calls you first, they get the commission. But for theatre work, you can only really have one. Commercial work includes music videos, corporate events, tours with pop stars or singers, festivals and some TVC's and modelling work'.

This went on for approximately one year for Steven before he auditioned for what he later admits, ‘...is one of my favourites', Chicago. ‘I wasn't really ready to finish after my first year, so I stayed another year', he says of his 2-year season with the show. One can tell that Steven holds a special place for Chicago in his heart the way he talks of his experience in the production. He says that, as a performer in Chicago, ‘it's just the raw talent, you have got nothing to hide you' (which separates it from other ensemble performances) ‘so it's all relying on your own style and stylistic choices'. There's that passion! It was at this time I was in London myself and really wanting Steven to work on my project with Adam Garcia at Sadlers Wells but he couldn't because, 'I still had to wait for visa papers to come through', he explains.

Steven then returned to Australia and realises, ‘I was only here for a holiday and I got a call from Dancing With The Stars because Naomi Robsons' partner Zhaba, was in a jet ski accident, so at the last minute, I was put on a short list and then got called in to replace him and ended up staying 3 months'. The bouncing between the UK and Australia continues for Steven as he returned for another 2 years. During this time he performed in Viva La Diva for 2 seasons with opera singer Katherine Jenkins and former Royal Ballet soloist Darcey Bussell, which was a tribute show of sorts and had the occasion to perform at the O2 Arena. And then, as if his career doesn't already sound poetic, his resume at this point in time is serendipitously bookended with another tour with Sir Cliff Richard before Steven returns to Australia. For those of you who saw the recent Australian production of Chicago, you would have seen Mr Grace in an award winning performance. ‘You see, 2 of the male ensemble, originally cast, pulled out at the last minute', he adds. Steven was there to step in, this time with creative responsibility as the assistant Dance Captain to add to his growing list of achievements.

Steven has taken advantage of the UK's working visa laws by establishing himself a reputation of quality and has proven to the British entertainment industry that he is of great value. As he has worked continuously in that country for 5 years he is entitled to a work permit which, along with his respected career in his home country, Steven holds very proud. He is currently working on the extremely preliminary workshop for the Global Creatures production of King Kong, due for a Broadway opening in 2013 and will join the cast for The Production Company's season of The Boy From Oz in Melbourne August 18 - 22.

By Chris Horsey

International contracts have hit an all time high! With the likes of Universal Studios Japan, Moulin Rouge Paris, Disneyland Hong Kong & International Cruise lines all actively auditioning in Australia, there is growing opportunities. Australian dancers have great technique & vitality AND we are extremely competitive on the international stage. From Broadway to Beijing we are landing those jobs!

However for many, living away from home, especially overseas is a huge step. I recently spoke with Laura Potter, a 26 year old from Wollongong currently living & dancing in Alaska.

What made you decide to work overseas?
After completing my HSC I gained my teaching accreditation (F.A.T.D) & was teaching jazz & tap, working as an NBL cheerleader & working a day job. I enjoyed my life but I needed something more. I really wanted to travel so started auditioning for international contracts. My first overseas contract was with the Moulin Rouge, Paris & I lived there for 19 months. Before commencing at the Moulin I also lived in London for a short time. Paris was a great base for travel. I saw a lot of the world. My family & friends visited me in Paris so they got to enjoy my experience too ...I loved it!

Laura returned to Australia to recharge her batteries & worked on the Sydney Showboat for 12 months. She started teaching part time again however still felt that urge to head off overseas. Laura is presently contracted with Jean Ann Ryan Productions. JAR Productions cast everything from Broadway book shows to Las Vegas reviews & are a leader in cruise line productions.

How did your present job, dancer on the Norwegian Pearl - luxury cruise ship, Alaska come about?
I didn't have to audition. I sent my show reel & headshot & was cast from that. I had also been offered a contract in Egypt with a different company with the same method. My previous dancing experience helped.
Rehearsals were for 2 & a half weeks at the JAR studios in Miami. We learnt three shows in this time. It was tough but we have a great cast & production team so it was fun too. We had day trips to Disneyland so it wasn't all work.

Tell us a little about life on board?
In Alaska we perform three shows a week. Sunday night "Welcome aboard show", Tuesday night "Sealegs" and Friday night "Garden of the Geisha". We also do a full technical run of the show the day we perform it. I also have cruise staff duties which includes welcoming passengers the day they embark, participating in "Dancing with the Pearl Stars" & "White Hot Party".

You obviously enjoy being a "showgirl" again?
I'm really enjoying ship life. It's really different from any other contract I've had as you live & work with the same people. We are able to get off the ship in all the ports & explore Alaska which is amazing. So again I am being paid to travel & see the world.

The best advice you've been given?
Be yourself...and I'm doing just that!

Many long & short term cruise ship contracts are out there so what are you waiting for? Get out there & let your dancing take you around the world!

By Alana Hyde

Heh Guys,
As you may or may not know I was recently in the wonderful NYC soaking up the atmosphere, being a typical tourist and seeing lots of shows. And as I was sitting watching HAIR ,with the orchestra on stage I thought to myself - what would it be like to be part of a Broadway Show as a member of the orchestra. We are always bringing you news and views from dancers so I figured it would be cool to explore the world of the "muso" and see what one of them has to say.

Enter Brian Usifer - the perfect candidate for my interview having just landed a gig on Broadway with the amazingly popular sell out WICKED!

Christine: So Brian, what is your current position on Wicked? And what does it entail?

Brian: I've just joined the show as one of the rehearsal pianists. Basically my job is to be at rehearsals for new cast members, understudies/swings, etc. and try to sound like a huge orchestra. It's one of the hardest scores I've had to play, so it's been a great challenge working on it. There are a few people who also do this, so how much I play depends on what new cast members there are or what understudies are going on for the first time as well as the other pianist's schedules.

Christine: Apart from playing keyboards, I believe that you also play drumkit? Do you have any other specific musical skills and do you think they had a role in landing you this gig?

Brian: Yeah I have played drums and guitar in bands since I was in high school. I don't get to play them often anymore but every once in a while I'll get to sit at a drum set and rock it out. I do a lot of writing on guitar, so I get around to that more often. It's very important to know about other instruments that are used in theatre orchestras because it helps you communicate with the musician better if you have an idea of how his instrument works. I also played trumpet and clarinet when I was in high school so I have a good sense of them as well.

Christine: For dancers/singers the competition to get a job on a Broadway Show is huge and usually involves many auditions and call backs etc . Does the same apply to musicians? Or is it a gig you get through recommendation? Basically - what was the process for you to land this job?

Brian: It's actually really difficult for musicians to get a job on and off Broadway. There usually are not any auditions for those jobs, and there are many ways that one can come about it. There is a contractor from the union on every show, and they will work with the Music Director to find the best musicians for the job. As it is in any other industries, everyone has "their people" that they know and trust and like to work with, so usually the first bunch of jobs go to those people. From there, the contractor may ask around for other musicians that may fit the part better. A Broadway music team is typically large; there's often a Music Supervisor, a Music Director, an Associate Music Director, sometimes an Assistant Music Director, and then rehearsal pianists, and music assistants. The way to get on that team is to know someone close to the top, like the contractor or Music Supervisor. In terms of Wicked, I've been lucky enough to work with the guys in the music department in a few different capacities and on a few different shows. There was an opening and they asked if I was interested, and I said "of course I am!" They are some of my heroes in the industry so I feel very lucky to be working with them.

Christine: What advice would you give to a musician out there whose dream is to get a job on a show in NYC?

Brian: I know it sounds cliche, but you have to be willing to practice, work really hard, and be excellent to work with. Those are traits that not every performer has at an equal level, so it's important to figure out where you're lacking and get to work on it. In the end, you have to be a good enough player to play the part and also be consistent. Shows typically have 8 performances a week and you have to be able to basically do it the same way every time. That takes lots of training and skill. It's also very important to be flexible in terms of style. Theatre today runs the gamut stylistically, and you have to be able to play things like jazz, pop, rock, traditional music theatre, classical based music theatre, hip hop, polka...the list goes on. Nobody is equally as awesome with every style, but it's really important to at least be familiar with them.

Christine: Where do you see yourself taking this career path and do you still keep other projects going at the same time?

Brian: Since playing rehearsals for Wicked is a part time thing, I'm able to keep other projects going. New shows take a lot of time to develop, so I'm attached to a few that are in different stages of development. I'm hoping my career will continue to develop and grow! There are so many different things that I like to do in theatre, I'd be happy to do any of them at the highest level possible. Orchestrating and Music Directing are really where I'm focusing my energies right now, and I've been lucky enough to get to do them a lot.

Christine: What do you think makes a good musician?

Brian: It's like anything else, you have to care about your craft. And, well, you have to love music, and you have to love your instrument! Musicians are communicators-it's your job to make people feel something. I don't care if people love or hate my music, as long as they feel something. In the professional world, communication and collaboration is the key. You have to be great at your instrument and always be willing to learn something new, but when it comes down to it, if you want to get a job people need to like to work with you.

So there you have it - next time you are sitting watching a show and enjoying the fantastic music that goes with it. Give some attention to the passionate musicians who contribute so much to the feel and emotion of the production.

There is always so much going on in every aspect of a show and without every piece of the pie the result just wouldn't be the same.

And a huge shout out to Brian for taking the time to talk with me whilst I was in NYC!

Christine Denny
www.tapatakoz.com.au

I recently caught up with Laura Watchorn, a 22 year old Australian currently understudy to the principal - Moulin Rouge Paris.

How did your present job come about?
My dancing teachers and my Mum encouraged me to audition for the Moulin. A student from my dance school was already working there, so I`d heard a lot about the show and the life of a dancer in Paris.

The audition was held in Sydney in late 2006 and 150 girls auditioned. The audition was long! We did lots of different dance combinations, corner work with kicking, `showgirl` walks around the room, cartwheels and splits and we also has to meet the height requirements (175cm minimum for girls). At the end of the day, there were about 20 of us left and we were told to wait for an email. I was offered a contract in early 2007, to start in April. I initially signed a 6 month contract and since then I`ve been lucky enough to stay, and keep renewing my contract.

Tell us about the rehearsal process?

I started rehearsals the day after I arrived in Paris. We rehearsed 6 days a week, 5 hours a day and they were held at the Moulin (either on stage or in the rehearsal studio).
We began with the can can technique and slowly started to piece all the other routines together. After 2 weeks, we start to "clean" the show and what we`ve already learned, and the current cast start joining in to set each number on stage. All up, rehearsals take about 3.5 weeks. At the end, a general rehearsal is held with the whole cast.

Rehearsals are difficult, we had to pick up a certain "style" that is required at the Moulin and try and perfect the can can technique and build up our stamina.

How do you arrange accommodation when moving to the other side of the world?

For the duration of rehearsals, we stay in a hotel ,close to the Moulin. And during this period the Moulin help us find a place to live after that. Most of us took apartments from girls who were finishing their contract as we were starting. The staff at the Moulin are really helpful. They assist us in finding places to live, organising visas, bank accounts, and other things to help us settle in (phones, internet, paperwork etc).

You started out in the chorus "Les Doriss Girls") then moved to the "Nude Line". How did you land a Lead role?

There are 2 groups of girls. The Dancer Line and the Nude (topless) Line. I`ve been at the Moulin for 3 years now, I started in the Dancer Line and after one year Ii began replacing (understudying) the nude line. After 2 years I moved over to the nude line permanently. The nude line is topless in most of the numbers in the show, it`s not completely nude!
I "swing" some parts of the show, which means I get to be in different places and routines each night. It`s great because it keeps the show interesting for me and doesn`t get boring because I`m constantly changing roles and wearing different costumes.

Auditions were held to understudy the principal role (there are 3 female principals roles). We were advised by the Ballet Mistress as to which role we should audition for - they require different "looks" . My auditioned was successful & I`ve been understudying this role for almost 2 years. I really enjoy it. It`s a privilege because only a select group of girls make it through the audition.

A typical day in Paris?

A typical day for me begins at around midday. We have time in the day to catch up with friends, go out for a meal or go shopping. In the summer we regularly go to the park for picnics in the afternoon, there's always something to do or see in Paris! We go to work at around 8pm. The first show is at 9pm, the second at 11pm. We have a short break in between the shows (about 20 minutes). Just enough time to fix hair and makeup and have a chat. After work I usually come home and call my family in Australia, watch a DVD and "wind down". Sometimes we organise to go out to nightclubs or bars after work for a drink or a meal. Places stay open until very late in Paris!

Sometimes we are asked to perform on TV shows, perform at events and at big football matches in Paris, it`s fun to do other gigs and represent the Moulin at different places. I went to San Remo, Italy for 3 days to perform at the San Remo Music Festival. There are lots of extra opportunities at the Moulin.

During the show you get to swim in the snake tank!

Yes, apart from the 3 principal roles, there are 2 soloist girls (who also have understudies) and a few understudies for the snake tank. I have been swimming with the snakes for about 2.5 years now. Some girls prefer not to try it, because they are fearful of the snakes, which I can totally understand - the snakes are huge and strong and a bit scary at first. But I enjoy it, it`s a highlight of the show!

There are also male soloist, and principal positions in the show. The guys have a chance to audition, and go through a similar process to us.

Alana Hyde

The Moulin Rouge will be auditioning in Australia in July 2010. For audition info, see below...

Moulin Rouge -Tall Dancers, Male and Female
Boys Minimum Height 185 cms/6'1"
Girls Minimum Height 175 cms/5'8"

Excellent classical and jazz training along with bright personality essential.

Sydney
Sunday 11th July at 1pm
NIDA
215 Anzac Parade
Kensington

Melbourne
Sunday 18th July at 1pm
Victorian College of the Arts
School of Dance
234 St Kilda RD South Bank

Sydney
Tuesday 20th July at 1pm
Sydney Dance Company
The Warf, Pier4
Hickson Road
Walsh Bay

Perth
Monday 26th July at 1pm
Ausdance WA
King Street Arts Centre
Level 1
(enter via Munster Lane
just off King Street)

Registration and warm up from one hour before audition start time

Moulin Rouge
Le Moulin Rouge - 82, blvd de Clichy - 75018 Paris - France
Tel : 33 (0) 1 53 09 82 82 • janet.pharaoh@moulinrouge.fr
www.moulin-rouge.com

DanceLife caught up with Rohan Browne who is playing Riff the leader of the Jets in the upcoming Australian production of West Side Story.Rohan just recently played the role of George in the Australian premiere of The Drowsy Chaperone for the Melbourne Theatre Company. Prior to that he played the role of Fred Casely in the award-winning production of Chicago.

Other roles include touring throughout Asia as the Rum Tum Tugger in Cats, Herod in Jesus Christ Superstar in Europe & Asia and Wing in the Australian touring production of Hot Shoe Shuffle.

Rohan's extended music theatre credits include; the original The Boy From Oz, Grease, Dirty Dancing, Anything Goes, Kiss Me Kate [in which he was nominated for a Green Room Award], Thoroughly Modern Millie, Follies & Mame.
Additionally Rohan was involved in workshops for Priscilla -Queen Of The Desert and was assistant choreographer for Virgins - A Musical Threesome that subsequently toured to the New York Music Theatre Festival. Rohan was also invited by Chita Rivera to perform, as one of only 6 artists, at her Australian workshop.

A finalist in the Sanlam International Ballet Competition in South Africa 1997, Rohan has also performed in Tivoli with Sydney Dance Company, Idomeneo for Opera Australia playing Zeus and a principal artist in Sleeping Beauty and The Nutcracker with National Theatre Ballet.
After appearing on television in shows such as Rove Live, The Micallef Show, Starstruck and Top Of The Pops [Germany] he has made numerous appearances on The Logie Awards, Good Morning Australia with Bert Newton & The Kerri-Ann Kennerley Show. Rohan was also featured in the Academy Award® winning film, Happy Feet.

West Side Story opens this week in Sydney. Get more information about the show and tickets here www.westsidestorythemusical.com.au

Our next On The Couch With Christine is with Piran Scott who was in the porfessional year of the QLD Ballet last year when the interview took place. He is now a Trainee Dancer with the company. Check out the video about and read more about Piran's career below.

As well as dance studies under Lynette Denny at Theatre Arts Mackay, Piran Scott trained in music and speech and drama, and also developed strong interests in debating, public speaking, and several sports. Piran auditioned successfully for admission to the 2008 cohort of Queensland Ballet's Professional Year, remaining in the program until the end of 2009 when he was offered a Trainee position with the Company for 2010. Before commencement of the program, Piran was engaged for the Company's season of The Nutcracker at the end of 2007. During 2008, he performed in A Midsummer Night's Dream, the 2008 International Gala, ...with attitude, The Little Mermaid, and Swan Lake as well as regional Queensland tour of The Amazing Magician. In 2009, he performed in A Streetcar Named Desire, the return Brisbane season and tour of A Midsummer Night's Dream, and The Sleeping Beauty, as well as Step Forward!, the program devised to showcase the 2009 Professional Year students. He was selected to perform in Bolero in the Paris Opera Ballet's gala performance in Brisbane in 2009, as well as the Company's third European tour. Piran joined Queensland Ballet as a Trainee dancer in January 2010.

On The Couch With Christine - Christine Denny from Tapatak Oz www.tapatakoz.com.au

The Talent Development Project's (TDP) START ME UP Concert showcases young Australian talent in a spectacular evening of song, launching the best singers and songwriters from New South Wales public schools alongside some of the biggest names in the Australian music industry.

The 2010 TDP graduates will appear on stage with special guest artists on WEDNESDAY 28 JULY at the Sydney Entertainment Centre. The Concert will be hosted by ALAN JONES AO, former Australian Idol Musical Director and TDP graduate JOHN FOREMAN and 2010 Golden Guitar winner and TDP graduate FELICITY URQUHART.

Special guests appearing with the TDP Graduates include ‘Australia's Got Talent' 2009 Winner MARK VINCENT, the TDP Graduates and highly successful Indigenous folk/jazz duo MICROWAVE JENNY(recent winners of the Peter Garrett Breakthrough Award), much loved cabaret and theatre performer TREVOR ASHLEY and JESSICA LINGOTTI from sensational dance show ‘Burn the Floor'.

DanceLife chatted with Jessica Lingotti about TDP and her career.

1. What do you think is one of the greatest benefits of attending TDP?

TDP is a very valuable opportunity for young performers. One if its greatest benefits is that you are in the hands of the best who will guide you and teach you the necessary skills which are needed to work in todays Entertainment Industry. As you work your way through each stage of the program, you continue to enhance and define not only your talent but yourself as an individual. I would highly recommend TDP to anyone who wants to pursue a career in the Entertainment Industry. I have walked away with so many priceless memories and skills which I value very much!

2. Who is your greatest inspiration?

My greatest inspiration would have to be my Grandmother. Growing up and hearing her sing to me was enough inspiration for me to want to follow in her footsteps. I am also grateful for the opportunities that were made possible to me by my family. I don't think I could have got this far without them. Also, I could probably be here all day telling you just how many great artists inspire me too.

3. Best advice you have ever heard?

I was once told by a fellow performer and good friend that the secret to any great performance is purely CONVICTION. Its not always about being the best dancer/singer/actor/whatever you are performing, its just about the confidence with which you do it. The most important thing is to never second guess anything you do on stage. Don't think wether or not it will look wrong. Always stay true to who you are and to your talent and if you commit 100%, the audience will always connect to it.

4. Biggest myth about working as a performer?

In my opinion, one of the biggest myths I have come across is the general perception that the life of a performer is a glamorous one. While it certainly has its glamorous moments, there is a lot that goes on behind the scenes of which many people are not aware. These include; years of study and guidance from teachers, long hours of training and rehearsal, the stress of auditions and rejection and the uncertainty of long term employment. As a performer you have to be able withstand criticism. In short, our industry is a tough one to take on and requires a lot of discipline and hard work but in saying that, if you love it, you wouldn't have it any other way :)

5. What has been your most difficult challenge in pursuing your dream and how did you deal with that?

The most difficult challenge I came across whilst pursuing my dream was trying to get that first break into the industry. There were times where I would knock on every door and I would get no response and for me that was a very challenging experience. How did I deal with that? I stayed motivated, continued to work hard and performed as often as I could anywhere and everywhere and when I least expected it that break came for me. I knew what I wanted, I believed in myself, I have worked hard at it and I have made the most of every opportunity that has come my way.

Sydney Entertainment Centre TICKETS NOW ON SALE
Wednesday 28 July
Graduation concert 7.30pm $20.00 Adults $15 Conc & students
$10 groups of 10 or more
Graduation Concert & Master Class 4.00pm $25.00 Adults $20 Conc & students
Bookings: 1300 883 622 or www.ticketmaster.com.au