DanceLife Blog

In our next On The Couch With Christine we chatted to Nathan Wright, Choreographer of Avenue Q.

Nathan Wright has worked extensively in musical theatre and is respected as both a performer and Choreographer. He has most recently choreographed the new Australian work Breast Wishes in concert, which will then premiere in full production early next year at the Seymour Centre. Recently Nathan staged the finale in Boeing-Boeing and he kicks off 2009 with Gutenberg! The Musical. Nathan is currently the Associate Choreographer on Gale Edwards production of The Rocky Horror Show. Nathan was also the Assistant choreographer to John O'Connor on Gale Edwards production of Company and Assistant to the Director of Choreography (Jason Coleman) 15th Asian Games - Doha for David Atkins Enterprises, The Hong Kong Academy of Performing Arts and Draculas Theatre Restaurant.

Nathan began his professional musical theatre career at the age of twelve in The King and I with Hayley Mills. Nathan then went on to perform in Shout! The Story Of The Wild One (Young Johnny), Oh! What A Night, Hot Shoe Shuffle (Tap Bros), Get Happy (Carmen Miranda), Leader Of The Pack (Sydney and Melbourne seasons), Pepper in Mamma Mia! (for which he was nominated for the prestigious Green Room Award as a Best Supporting Actor in a musical), Eurobeat (Russia), Pippin (Theo) and Jesus Christ Superstar (Simon Zealotte).

Film Credits include Baz Luhrmann's Moulin Rouge (The Wicked Faced Boy), and as a motion capture artist in George Millers Happy Feet.

Nathan trained at the Conroy Dance Centre in Brisbane and is thrilled to be choreographing Avenue Q.

The Sydney season of the hit musical, Avenue Q will be extended until 18 October at the Theatre Royal. www.ticketek.com.au

Christine Denny is one of Australia's most recognised tap dancers having specialised in the teaching of tap dance for the past 20 years. Based in Sydney she has been on staff at many of the country's most prestigious performance institutions including Brent St, ED5 and NIDA - working with both junior students and tertiary level performers looking to a career in the industry.

Christine will be answering your questions about All Things TAP. If you have a question for Christine please email it through to info@dancelife.com.au. Christine has just launched TAPATAK OZ which is a series of instructional Tap DVDs for all levels. Check it out here http://www.dancelife.com.au/directory/listing/tapatakoz.html

QUESTION: Hi! I was wondering what I can do to keep my taps from falling of my shoes. It doesn't seem to matter what I do - one of them comes off all the time. Is there a way to keep them on a bit better?
~ Maddison

ANSWER: Heh Maddison. I know exactly what you mean. This is a problem that most tap dancers face. What I recommend is this:

1. Take the offending tap off your shoe. You will notice that the holes in the bottom of your tap shoe will have become too big for the screws - which is why the screws fall out and the taps fly off.

2. Find a box of matches (make sure your parents or an adult are with you while you do this of course) - take a match and put the end without the red on it (the phosphorous) into the hole. Break the match off so one end is left inside the hole. You have now filled the hole with a small piece of wood (the match).

3. Repeat this process with any holes that are too big for the screws.

4. Put some super glue on the end of the screws and screw them back into place.

5. Leave the glue to dry overnight.

6. Yeah - Celebrate - your taps should now stay on your shoe.

So - give this method a go and let me know how you get on.

Happy Tapping!
Christine

QUESTION: My friend reckons I should loosen my taps to get a better sound. Does this work?
~ Bradford

ANSWER: Heh Bradford. Good question! I tend to think that it is better to let your taps loosen naturally over time. They do sound a little dead however if they are really tight, so perhaps you could loosen them a smidge! Remember though that a new pair of tap shoes is like any other pair of shoes - they take a little time to wear in. So be patient and give them time to mould to your foot and develop a unique and worn in sound! The best way to get a better sound though is simple - practice! Any tap shoe only sounds as good as the person wearing it. Strengthening your beats and keeping your ankles nice and loose will also go a long way to improving your sound!

I hope this answers your question.

Have fun - tippy tap tippy tap cha!
Christine

Hi Guys

Well here I am, fresh off the plane from a week of classes at the Melbourne International Tap Festival - and what a week it was!

If you are someone who loves TAP then make sure you are there when Grant Swift brings us the next edition of this fantastic festival celebrating the wonderful rhythmic art of tap dancing.

In a world full of jazz, hip hop and funk workshops it was great to have a whole festival dedicated to those of us who love to tap. And not only was there the opportunity to do classes with some of Australia's most recognized teachers including Chris Horsey, Shane Preston, Grant Swift and myself ha ha ha (it was a shame Paul Davis was unable to make it) - but there was the rare opportunity to take classes with Emmy Award winner Jason Samuels Smith and the equally talented Miss Chloe Arnold - both from the USA.

To say their style is different to what we here in Australia are used to is a grand understatement and that was what made their classes so amazing! They are bringing to us, tap dancing that is steeped in tradition. Tap that has been passed down from the African American Tap Masters over the years and then embellished upon and given a modern twist by this new generation of tappers.

To hear Jason and Chloe speak about their mentors with such respect and passion was truly inspirational. Recognizing the contribution of those who came before them is perhaps something that we here in Australia could take on board.

And this is perhaps an aspect of the Festival that I particularly loved. It wasn't just about doing tap classes, but also about sharing the history of Tap Dancing that has inspired generations of tap dancers all over the world. Dianne Walker, The Nicholas Brothers, "Buster" Brown, Honi Coles, John Bubbles, Bill "Bojangles" Robinson - these are just a few of the tapping trail blazers who laid the foundation upon which we are building today. So if you haven't heard these names before - get on line - google, you tube and inform yourself, so you can utilize the talents of the past to improve your tapping in the future!

There is so much information out there if you want it and you may be amazed by what you find!

Another aspect of the festival that was great was the ‘jamming' and ‘cutting competitions'. A cutting competition is when two people go head to head - sort of like a challenge. They start off trading 16 counts, then 8 counts, then 4, then 2...... and each time try to blow the other tapper out of the proverbial water.

This is all done off the cuff - or improvised! The tapper is flying by the seat of their pants, making it up as they go along. The aim is to stay in time and to create a conversation with the other person - using your feet and rhythm of course!

Ideally the first tapper lays down a step and rhythm and the next tapper takes that theme and uses it in his or her response by either adding to it, changing it around or beefing it up and giving it a totally new twist. By doing this each dancer really stretches themselves creatively and rhythmically! And it is so much fun to watch!

Whilst I have done a bit of impro in my time, I have never really experienced a ‘cutting competition' before and I have to say it was great. To see 6 yr olds getting up and giving it a go was just unreal. They had no fear! They just got up there and gave it their best shot!

And all the while Jason and Chloe were on the side lines cheering them on!

And I think that was what impressed me most about the Melbourne International Tap Festival. The fact that Jason Samuels Smith and Chloe Arnold were so supportive of every other tapper in the room - no matter what their age, experience or ability! These are not only two of the best tap dancers in the world but also two of the most humble, generous and passionate people I have ever met!

They truly inspired everyone at the Festival - not only with their incredible and athletic tapping but with their passion for the art of tap, its history and for people in general.

So let me give you a quick run down of how the Festival worked.

The first evening there was a ‘jam'. Perhaps this may have been better mid week when the tappers who were new to the festival may have been less shy and more willing to join in - but for Grant Swift's students who are very familiar with this practice it was a great opportunity to get up and cut loose......and this is exactly what they did, trying out heaps of new moves and cool rhythms, all the while accompanied by a jazz band. It was fab!

I have no doubt that in coming years this will become a favourite part of the festival with everyone clamoring to get up and give it a whirl!

Then the week was full of classes - and what fun they were. To be in a class full of people who are there because they LOVE to tap is a remarkable experience. Everyone is passionate about what they are doing. The rhythms just build and build, pushing everyone along!

Then on the second last evening there was a show where we got to sample the talents of not only Jason Samuels Smith and Chloe Arnold but also some local talent - both old and new!

The ever so laid back and suave Chris Horsey was his brilliant self, giving us a sample of his typically rhythmic, musical and understated style. He is one class act and one of my favourite aussie tappers for certain! The humour and subtlety with which he infuses his performances is a unique touch that stamps everything he does.

Then there was Grant Swift (festival organizer) and his sons The Swift Brothers showing us what true passion for tap can achieve. They are one dynamic act that displayed lots of athleticism in their tapping, heaps of tricky moves, lightning fast footwork and a real solidarity with the artform! Their years of studying the American Masters and traditions have certainly paid off and their virtuosity was certainly a hit with the crowd.

Next came Red Hot Rhythm - a group of tappers from Queensland - who had made the trek down for the Festival. They were slick and fabulous - adding a bit of old school charm and class to the night. Think fedoras, shirts, ties and a whole lot of cool! They were smooth as silk and used a lot of canon in their choreography which is one of my must haves in a tap routine - so that made me very happy indeed ha ha ha!

And that was the beauty of this tap show. It utilized and showcased the great variety and personality that can be found in tap dance within Australia. It is one of the most diverse forms of dance you could ever find with such a variety of styles! And perhaps our distance from the USA is what has driven our local talents to create this.

Oh - and I must mention an incredibly talented young man by the name of Thomas Wadelton, who will definitely be someone to watch in the future. He has a passion for tap that is rare and has learned much from his travels to Tap Festivals throughout the USA - and it shows! As I approach the big 40 it really heartened me to see so many young people with an absolute drive and passion for TAP - and for this I must congratulate Grant Swift who tirelessly promotes tap dance in Melbourne and infuses all his students with a love of the boot.

There were other performances on the night as well - I have just mentioned my favourites - but Raw Metal was great as well with a commercial, quirky approach and an amazing drummer who brought an additional element to the evening!

And of course- Jason Samuels Smith and Chloe Arnold. These are two absolute legends!

Their personality, technique, rhythm, dexterity, showmanship, musicality and obvious genuine love for what they do is second to none. You had to feel honoured sitting in the audience watching them. Supreme masters of their art who are willing and wanting to share the knowledge and skill they have acquired over the years.

So - IF YOU LOVE TAP - send the Melbourne International Tap Festival an email immediately so you can be added to their mailing list for next time.

enquiries@mitf.com.au

This is a festival that offers you the opportunity to sample classes from some of the best in the world - without even having to set foot out of Australia - how good is that!

Finally congratulations to everyone at MITF - you guys put on a great festival!

And to Kenn Marsh and Jason Coleman @ The Ministry of Dance, where the classes were held - well done on providing not only great studios, but also on being so incredibly welcoming to all who attended the Tap Festival - what a week we all had!

I certainly look forward to supporting The Melbourne International Tap Festival in the future and seeing future generations of tappers benefit from so many great teachers being in the same place at the same time.

It will be wonderful to see even more of our amazing Australian tappers, teachers, students and choreographers join this festival in the future to share their individual and unique takes on tap, so we can all learn from and support each other.

Whilst doing this we can also embrace the traditions and styles from the African American tappers who created the fundamentals of our artform and whose knowledge and style has been passed aurally to the likes of Jason Samuels Smith and Chloe Arnold!

To me it is a rare opportunity at our doorstep!

Sample the unique flavour of aussie tap, as well as the show stopping American style the international guests bring.

So - stay tuned for some more interviews from the Tap Festival in the next few weeks!!

Oh - and if you are looking for a great tap class in Sydney check out Chris Horsey's Friday Night classes in Newtown - drop me an email if you need more info on that!

And if you are looking for some new moves, check out my DVDs @ www.tapatakoz.com.au

Till next time!

Happy Days!

Christine

Written by Christine Denny from Tapatak Oz

Hi Guys,

I took some time out at the Melbourne International Tap Festival recently to check in with Bill Simpson, the Director of Red Hot Rhythm and see how he found the festival. As a professional tap dancer, based in Queensland and a performer with his own tap group it was interesting to hear his take on what the Festival had to offer him as a choreographer, performer and student!

Here is what he had to say!

1. What do you think are the benefits of doing class with visiting dancers of such calibre as Jason Samuel-Smith and Chloe Arnold?
The benefits are just endless! The opportunity to be thrown right out of our comfort zone is one that as dancers, we should all embrace. They have such a different style to what we in Australia are used to, and while we should always hold on our to our own style, there's an incredible amount we can learn from them. Whether it's new types of steps, new ideas, or just observing their incredible passion for the art-form, everyone can gain something from their classes.

2. What did you find to be the biggest contrast in how you tap to how Jason and Chloe tap?

To me, the biggest contrast is in their attitude towards tap. Just looking at them you can tell that every single day of their life they live, breathe, eat, sleep tap dance. They live to tap, and to always keep improving. Of course, that's not to say that we in Australia aren't passionate about tap - quite the opposite in fact - but sometimes it's easy to think you're at the top of your game, when you could always be working to get better - embracing a new challenge.

3. What was the biggest thing you feel you took away from their classes - and the festival in general?

The biggest thing I took away from the festival was a deep sense of relief and happiness knowing that there were so many others who felt such passion and love for tap as I do. In the dance world, tap is often looked at in a completely different light to most other styles which, truth be told, I actually find a very positive thing. However for tappers, at times it does make for a slightly separated existence from the rest of the dance community. The experience of performing, jamming, learning, and just hanging out with such like-minded people was just amazing, and I'm already counting down days until the next festival.

4. How old were you when you first started tapping?

I was 16 when I started tapping.

5. How long has Red Hot Rhythm been working together? And what are you guys up to?

Red Hot Rhythm has been together since early 2007. I really wanted to start something new and exciting for Queensland, and since last year the group has been working to give something unique to our home cities of Brisbane and the Gold Coast. We're currently performing a range of gigs around Brisbane & the Gold Coast, and will be starting Red Hot Rhythm Classes and workshops early next year.

6. What was your favourite part of the Tap Festival?

My favourite part of the festival was the finale of the final performance at the National Theatre, in which after we'd performed the 'Shim-Sham' with the rest of the performers of the evening, a jam session spontaneously occurred on stage.

7. Would you encourage young tappers out there to attend the Festival next year? If so - why?

Yes. Absolutely. Without a doubt in my mind. If you're a tapper, why wouldn't you? If you're not a tapper, why wouldn't you? Grab some shoes and be apart of it!

8. What did having a festival like this in Australia mean to you?

Having the festival here really made me appreciate how lucky we are to be tap dancers, and how lucky we are that there are things happening for tap dance in Australia which we can all be apart of.

9. Who are you inspired by with your tapping - in Oz and overseas?

The list is endless. Fred Astaire, Gene Kelly, The Nicholas Brothers, The Condos Brothers, Jimmy Slide, Arthur Duncan, 'Peg Leg' Bates, Jason Samuels Smith, Dormeshia Sumbry-Edwards, Chloe Arnold, Savion Glover, Ben Reid, Drew Kaluski, Christopher Horsey, Shane Preston, etc...........I could go on for a while.

10. Why did you start tap dancing?

Good question. Quite simply: I saw it, I had to do it.

11. What are Red Hot Rhythms plans for the future?

In the future, we hope to take tap dance to the next level - to push the boundaries. We aim to always stay innovative in what we do and to keep growing as a company, and of course, to continually provide great tap dance entertainment and tuition for people young and old throughout Australia.

12. How did you guys get together in the first place?

Basically, the realisation that there was a significant lack of tap dance in Queensland inspired the concept of Red Hot Rhythm. I put the word out to some good friends who were keen to get on board, and before long, Red Hot Rhythm was up and running.

13. Any words of advice for young tappers out there?

You're on the right track.

14. What did you learn at the festival that made the biggest impression on you?

The following words that Jason Samuels Smith used during a conversation to describe an awesome tap dancer: Superleviathonic, Rhythmaturgically Syncopated, Tapstimatitianismist.

So - you can see that the Melbourne International Tap Festival, presented by Grant Swift, was an incredibly inspirational place to be.
To get on their mailing list for next time email: enquiries@mitf.com.au

For more info on Bill Simpson and Red Hot Rhythm check out: www.redhotrhythm.com.au

And for some new steps, routines and rhythms for 2009 check out my DVDs: www.tapatakoz.com.au

There is so much info out there and tap is alive and well in Australia that is for sure. We have oodles of people all over the country who are doing their thing and inspiring us all!

And on the other side of the globe there is a whole other world of tap for us to explore - so grab a plane ticket, check out you tube, google or buy some DVDs. If you love tap then you are in for a treat!!

I encourage all you tappers out there to get on board and celebrate our very special genre of dance!
GO TAP!!
Christine

With DanceLife Unite happening this weekend what a great time to post this article from Christine Denny about what adjudicators are looking for at dance competitions.

So often I hear competitors and parents asking that age old question - " what are they looking for?" when attending dancing eisteddfods.

Having just finished adjudicating the Bundaberg Eisteddfod and conferring with a number of other experienced dance adjudicators I thought I would write a list of what they are usually looking for.

And here are the TOP SEVEN:
1. Technique
2. Content
3. Personality/Showmanship
4. Dynamics/Light and Shade/Energy Level
5. Style
6. Preparation and Confidence
7. Costuming

So what do these mean. Well here is a brief explanation.

TECHNIQUE
Whether you are performing a classical solo, funk routine, song and dance or a tap the technical base to the performance is of utmost importance. The line through your legs and feet, your posture, strength and control of what you are doing, kicks, jump, turns, chaines, developpes, jetes, fouettes, etc etc
All these things are the foundation to the routine. It is these elements that give you the base on which to build so it is important to get these elements right so they you can "put the icing on the proverbial cake" afterwards. No amount of personality can cover poor technique - so you have to put in the time to develop the technique requires for your routine. In a tap routine this also means securing all your rhythms.

CONTENT
This is a tricky one as you want to perform at your peak in a competition. So you don't want to perform a routine that is too difficult for you to master - but equally you don't want to do something that is too easy! If you perform a really difficult routine well than of course you will do well, but if the solo is beyond you at the time of performance and you mess it up ( fall out of turns, come off pointe etc) then you can't possibly do as well. Similarly if you do a really simple routine brilliantly it can't compete with someone who has done something with a much higher degree of difficulty well. So look closely at your content and match it well to your capabilities!

PERSONALITY AND SHOWMANSHIP
You can be the best dancer in the world but if you are boring to watch than people will not be interested. You need to connect with your music and choreography! Tell the story and bring the steps to life. And if you have lyrics in your music then it is more than likely your choreographer has used those in the routine. So you must listen to the lyrics and connect with them and then to the audience. A performance that has emotion as well as technique will always go down far better with an adjudicator then a routine that is only technical. So - get the technique right and then add the passion and emotion. If you want to do your best in a competition then you have to cover all areas of your performance and the personality is what "sells the routine to the audience"!!

DYNAMICS/LIGHT AND SHADE/ENERGY LEVEL
It is very important that you have a lot of energy when you perform. If you appear lack lustre on the stage then the audience will have a lack lustre response to your routine.
However it is important to remember that every routine requires light and shade. That is elements of relaxation and elements of force. If you hit every movement with aggression and force the routine will end up looking forced and stressed. If you hit everything with no force or energy than you will look weak and lethargic.
The key is to approach all movements with force, suspension and then relaxation - this will create dynamics and give your routine light and shade. In tapping you need to create this light and shade in the sound as well as in the visual aspect of the performance.
No tension, no stress - just a free flowing solo with elements of energy and relxation!!
STYLE
This sounds so obvious but often it is the case that the performer has not developed the required style for the choreography and routine. For example - if you are dancing a Broadway piece from say CHICAGO then you need to research the musical and develop that specific Fosse Style! If you are dancing a classical solo in a Spanish style then you have to give your port de bras a lot more attack and energy to bring out this flavour. If tapping to a funky selection of music then you need to have relaxed arm lines and a casual approach - using your traditional arm lines will look silly and not work at all. And when dancing hip hop you need to give it a relaxed funky edge or it doesn't quite work. It is not enough to simply dance the steps. You need to perfect the style required! So watch some video footage that shows the style you are aiming for and try to replicate what you see.

PREPARATION AND CONFIDENCE
Again - this sounds obvious but you would be surprised how many people get out on stage and are not prepared at all. You must know with absolute certainty that you can perform all the required elements of your routine with confidence and if not you need to change them before you compete.
You should know the week prior to the competition how your routine is progressing and it is then that you should decide what the final performance will be. For instance:
a) If your classical solo is on pointe but you are having trouble with some steps then you need to either take the solo off pointe until you are able to perform it with confidence or simplify/change the challenging steps to something you know you can do. You should remember that age does not determine whether or not you dance on pointe but rather the strength in your technique should decide this. Regardless of your age you should only dance en pointe when you have the strength to o so safely and competently. Otherwise this is quite dangerous!

b) You should know exactly what all your rhythms are in a tap routine. It is not going to help your marks if you are faking the steps and rhythms , so if you are unable to do the rhythms set - change them to something more simple that you can cope with. Similarly, if the music is too fast and you can't keep up - slow it down for the competition and then work towards the faster speed for the next eisteddfod.

c) If you know that you can't do 16 fouettes at the end of your Brodway Jazz routine then change that section to something else and keep working on it for the next time you perform it.

d) If you have been given a well known piece of choreography to dance, then you must research the piece and understand where it came from and how it should be performed. The adjudicator will have an expectation of how these well known /iconic pieces should be performed. If you are going to do them - you need to do them well or it just doesn't work!! Examples are anything from shows or ballets like: CHICAGO, CATS, HAIRSPRAY, A CHORUS LINE, WEST SIDE STORY, ANNIE, CARMEN, GISELLE, SWAN LAKE etc etc etc

COSTUMING
Always wear something that is flattering to your unique body shape and figure. A well fitting costume in a flattering colour will add a lot to your performance. So don't be tempted to wear something that you saw in a magazine or in a picture somewhere if it doesn't work for you. And generally speaking cream and beige eye shadow with red lipstick is the most effective on stage. Avoid green or blue eye shadow unless it is for a character type makeup!

So there you have it. Some tips to help you get the best out of your Eisteddfod experiences. And remember - the only person you should be competing with is yourself. If you have done all the preparation you can and have performed well on the day then that is all you can hope for and you should be happy with whatever the adjudicator's result is.
Remember - dance is subjective and while most adjudicator's do have an educated opinion - it is just that - their opinion - and results may vary from time to time!

That is what makes dance so wonderful - everyone sees it in a different way and it doesn't fit neatly into a structured box!

But if you cover all the elements listed above, your performance is more likely to appeal to a greater number of people and adjudicators!

So - watch everyone else and appreciate what they have to offer. And most importantly enjoy the opportunity to get up on the stage and dance!!!

Till next time
ENJOY!!!

Christine
www.tapatakoz.com.au

Heh Guys,

Recently I have been on the road with TAPATAK OZ choreographing groups and solos and teaching masterclasses and I have been wondering what is so often missing in the classroom these days. After much thought I have come up with the answer - JOY!

It seems to me that if you are in a dance class you must have an interest and passion for dance - so today I want to encourage you all to let your passion out! Show the joy! Truly experience the moment!

If you asked most professional dancers, teachers and choreographers how they feel when they hear music or dance a step they would say that there is a little fire inside them that just lights up. A light or joy in them that just takes over. A feeling they can't explain. And you can see this in their eyes and feel it in the energy they have when they are in their artistic zone so to speak.

Excitement! Passion! Joy! These are all feeling s that professional artist finds in their work - but also and most importantly they are all qualities that they are not afraid to show and share with the outside world.

It seems that students these days feel they need to hide their passion, their joy and their excitement from everyone around them which is a real shame as this is what performing and the arts is all about. Not to mention that classes and rehearsals are so much more fun when everyone is injecting them with their own unique personality and this infectious love of dance!

I have heard the judges on SYTYCD comment many times on how important it is to have a connection with the audience, to tell a story when you dance and to give each movement a purpose and I could not agree more. It is this revealing of your personality and soul that drives any performance, draws the audience to you and creates that special aura around the performance. You have to let people in for your performance to be truly effective.

So this is an important skill that needs to be nurtured in the classroom and in rehearsal. As important as technique is, this sense of passion and love for dance needs to be developed and finetuned and then hung out on display for everyone to witness and share. Hidden away, your passion and love of dance is unable to affect those watching you and that wonderful gift of connection is lost to all!

The arts in all its forms are such a unique opportunity to affect others emotionally and connect with them so really take the opportunity to develop this gift and share. Sure - work and focus on technique but also consciously give some thought to allowing yourself the freedom to show your joy of dance. Show your passion! Show the joy! Shine your own special light and experience that wonderful feeling of total expression and freedom!

Listen to your music, let it take you over and inspire you! Think about what motivates each step you perform. What is your story? What is the choreography about? How has your choreographer or teacher used the music to get across their vision? What is their vision? Why are you dancing? Are you happy, sad, excited, tentative? When you ask all these questions of every step you dance you open up a whole new world and give your dance so much more depth and meaning.

So my challenge to all the students out there today is to enter your classes with a renewed passion and energy. Don't be afraid to show that you love dance. Let the joy out! As I always say "Show the emotion in your ocean" .The more energy and passion you give to your teachers and choreographers the more creativity and passion you will get back.

Any class is a circle and cycle of energy - you give energy and passion to your teacher and they reflect this back to you with more interesting and creative choreography and more inspired ideas.The more interest you show in what your teacher is doing the more challenging the work will become. Be your teacher's inspiration as well as his or her student. They will in turn inspire you! It is a two way street. You will feed of each other and each class will be a fabulous exchange of energy, creativity and passion!

And that is it for today! A simple message! Show the joy! Live the joy! Become the joy!

Make every dance class you attend an exciting one where you leave the room feeling like you have connected with your inner passion and inner self - not afraid of showing the world that you love what you do!

Leave every class not only physically exhausted but knowing that you have given every step the emotional connection and passion it deserves as well!

My crusade and message for today's article is simple:
LIVE WHAT YOU DO! LOVE WHAT YOU DO! SHOW THE JOY!

Life is an exciting discovery of you - so discover

yourself with passion and joy!

ENJOY!

Christine
www.tapatakoz.com.au

DanceLife Interviews Nathan Wright from dancelifeaus on Vimeo.

Check out our first 'On The Couch With Christine' segment. Nathan Wright is our first guest. Nathan Wright has worked extensively in musical theatre and is respected as both a performer and Choreographer. He has most recently choreographed the new Australian work Breast Wishes which is currently on at the Seymour Centre. Recently Nathan staged the finale in Boeing-Boeing and he kicks off 2009 with Gutenberg! The Musical. Nathan is currently the Associate Choreographer on Gale Edwards production of The Rocky Horror Show. Nathan was also the Assistant choreographer to John O'Connor on Gale Edwards production of Company and Assistant to the Director of Choreography (Jason Coleman) 15th Asian Games - Doha for David Atkins Enterprises, The Hong Kong Academy of Performing Arts and Draculas Theatre Restaurant.

Nathan began his professional musical theatre career at the age of twelve in The King and I with Hayley Mills. Nathan then went on to perform in Shout! The Story Of The Wild One (Young Johnny), Oh! What A Night, Hot Shoe Shuffle (Tap Bros), Get Happy (Carmen Miranda), Leader Of The Pack (Sydney and Melbourne seasons), Pepper in Mamma Mia! (for which he was nominated for the prestigious Green Room Award as a Best Supporting Actor in a musical), Eurobeat (Russia), Pippin (Theo) and Jesus Christ Superstar (Simon Zealotte). Film Credits include Baz Luhrmann's Moulin Rouge (The Wicked Faced Boy), and as a motion capture artist in George Millers Happy Feet.

For more information on Christine Denny check out her website www.tapatakoz.com.au

This week DanceLife's charismatic Christine Denny jumped onto Adam Williams couch to have a chat to him about his career in the entertainment industry focusing on his role as a choreographer and creative director but also touching on his experience on So You Think You Can Dance. Adam has worked as a performer on many musicals including Footloose, Chicago, Leader of the Pack to name a few, and worked with many Australian artists. He is now in great demand to add his touch to major corporate events.

Here is another ‘On The Couch With Christine' interview and this time we chatted to the amazingly talented Andrew Bevis. Read more about Andrew below. To see more of our On The Couch interviews check out our YouTube page http://www.youtube.com/user/DanceLifeAustralia. For more on Christine Denny from Tapatak Oz go to www.tapatakoz.com.au.

Andrew Bevis has starred in a diverse range of leading roles both in his native Australia and on London's world famous West End.

A prolific piano player, Andrew began his theatrical career aged 18 as Trainee Musical Director on the Original Australian production of The Phantom of the Opera. He then made his stage debut as Barnaby Tucker in the acclaimed revival of Hello, Dolly! (GFO) before touring Asia and South Africa with the international cast of Les Miserables. Andrew was then invited to join the original London production at The Palace Theatre in London's West End performing the roles of Montparnasse and Marius.

Further West End Credits include Tremont - "Chick with a Dick" in Jerry Springer the Opera (Royal National Theatre/Cambridge Theatre), Romeo in Romeo and Juliet (Piccadilly Theatre), Tobias in Sweeney Todd (Opera North), Terminus; These People; Diamond and Ray Cooney's Time's Up. Andrew starred as Lt. Joseph Cable in South Pacific for BBC Radio 2 and most recently as the title role in Cameron Mackintosh's Martin Guerre (Watermill Theatre).

Australian stage credits include: Follies (Sydney Opera House), Henrik in A Little Night Music (MTC / IMG), Spring Awakening, Favourite Names for Boys (Railway Street Theatre Company), Rocky Horror Show and Jerry Springer The Opera.

Andrew recorded the voice of Prince Lune for The Cat Returns (Disney Animations) opposite Tim Curry, Anne Hathaway and Elliot Gould.

Here is our next ‘On The Couch With Christine' Interview. The lovely Rachel Schmalz chatted to Christine about her career so far. Check it out above.

Rachel studied Performing Arts at Brent St in 1996 and found herself being sourced from her classes to travel to Kuala Lumpur, Malaysia for a corporate performance. After finishing her certificate she joined the cast of Sesame Street Live.

Her love for Tap was cemented when she was offered a role as one of four females to join Dein Perry's "Steel City", his follow up to Tap Dogs. The show travelled Australia then headed to New York City where Rachel performed at Radio City Music Hall.

Other stage credits include The People's Choice Awards, The Helpmann Awards, The Opening and Closing Olympic Ceremonies Sydney 2000 with Kylie Minogue and the NRL Grand final's with Meatloaf and The Hoodoo Guru's. Her television credits include The Regis and Kathy Lee show (New York), The Today Show (New York) Sale of the Century, Midday with Kerri Ann and Australian Idol 05/06. Also many commercials including Pepsi, Kellogg's Cornflakes and The Sunday Telegraph.

Rachel can be seen in Dein Perry's feature film "Bootmen" and she also travelled to South Africa and London's West End to perform in his world premiere of "Tap Dogs - Rebooted"

Our next On The Couch With Christine interview was with the ever so talented STEPHEN PAGE from Bangarra.

Australia's most successful Indigenous dance company, the critically acclaimed Bangarra Dance Theatre is celebrating its 20th Anniversary in 2009 with a national and international program of electrifying and innovative contemporary dance.

To celebrate Bangarra's 20th Anniversary milestone, Stephen has created a retrospective work called FIRE, featuring the most memorable and compelling elements of the company's repertoire during its extraordinary 20-year journey. The work traces Bangarra from its modest beginnings to its current status as an enormously respected and lauded dance company around the world.

Visit http://www.bangarra.com.au for more details. Show kicks off in Wollongong on 20th August.

Born in Brisbane, Stephen is a descendant from the Nunukul people and the Munaldjali clan of the Yugambeh tribe from southeast Queensland. Stephen danced with the Sydney Dance Company until 1991 when he was appointed Artistic Director of Bangarra Dance Theatre. With his works, Praying Mantis Dreaming, Ninni, and Ochres, Stephen established milestones for Australian dance. In 1996, Stephen made his creative debut with The Australian Ballet, choreographing Alchemy. The following year, he brought The Australian Ballet and Bangarra together in Rites, to Stravinskys Rite of Spring. The following year Stephen choreographed Fish for Bangarra, with its world premiere at the Edinburgh International Festival.

Stephen choreographed the flag handover ceremony for the 1996 Atlanta Olympic Games and co-directed segments of the ceremonies of the 2000 Sydney Olympic Games. He also created the ceremony that opened the Olympic Arts Festival. Stephen also choreographed Skin, which premiered at the festival and won the coveted Helpmann Award for Best New Australian Work and Best Dance Work. Stephens triple bill Corroboree toured internationally, in a sell-out tour of the US with appearances at BAM in New York and Washingtons Kennedy Centre. This work earned Stephen the Helpmann Award for Best Choreography. The following year, Stephen was honoured with the Matilda Award for his contribution to the arts in Queensland and choreographed Totem for The Australian Ballets principal dancer, Stephen Heathcote. 2002 also saw the world premiere of Bangarras double bill, Walkabout which Stephen co-choreographed with Frances Rings.

Stephen and Frances Rings later co-choreographed Bush for Bangarra that sold out on its Australian tour as well as its 2004 tour to the United States. Also in 2004 Bangarra returned to the Sydney Opera House with another sell-out production co-choreographed by Stephen and Frances, Clan. The following year Stephen choreographed Boomerang for a sell-out Australian tour.

As Artistic Director of the 2004 Adelaide Festival of the Arts, Stephen was praised for reinvigorating the event with an impressive and highly successful world-class program. Stephens film and theatre credits include the contemporary operatic film Black River, numerous music video clips and most recently directing his own brother David Page in the highly acclaimed one-man show Page 8 which toured the UK.

In 2006 Stephen and The Australian Ballet created Gathering, a double bill consisting of a reworked Rites and Amalgamate. Also in 2006, Queensland Art Gallery director asked Stephen to create a new dance work for the opening of the Gallery of Modern Art. Stephen, along with his son and nephews, created Kin, a special project that opened Asia-Pacific Triennial of Contemporary Art.

In 2007 Stephen directed a spectacular traditional smoking ceremony in honour of the historic celebration marking the 75th anniversary of the Sydney Harbour Bridge. Later this year, during Bangarras True Stories season, Stephen directed Victorian Operas Orphee and Eurydice in Melbourne and presented another sell-out season of Kin at the Malthouse Theatre.

In 2008 Stephen was named NSW Australian of the Year, receiving the award from Deputy Premier John Watkins in a ceremony at the Art Gallery of NSW.

In 2008 Stephen Page created for Bangarra a brand new, full-length work Mathinna (Best Dance Work and Best Choreography 2009 Helpmann Awards); an engaging production inspired by a young Tasmanian girls journey between two cultures.
Later in 2008 Stephen set off for Broome, WA as Choreographer on the film adaptation of Bran Nue Dae.

In 2009, after taking the dancers to Arnhem Land for cultural reconnection, Stephen celebrates Bangarras 20th Anniversary with Fire A Retrospective.

Our next ‘On The Couch With Christine' interview is with the fabulous Tracie Morley. See the interview above!

Tracie started dancing at the age of 3 training in Classical Ballet (RAD), Jazz, Tap, Ballroom and Contemporary Dance.

Tracie has worked as a performer, choreographer, assistant choreographer, resident director and dance captain on Feature Films, Musical Theatre, Television, Fashion, Video Clips, TV commercials, Corporate Events and in the commercial world with many leading Australian and International professionals.

Tracie has appeared in such productions as Carmen, Faust, Iolanthe, The Tales Of Hoffman, Don Quixote and Don Giovani. Snow White, The Wizard of Oz, West Side Story, Sisterella, My Fair Lady, Singing In The Rain, Oh What a Night, Dirty Dancing, High School Musical and The Boy from Oz are among some of her professional musical credits.

She appeared in Stars Of Illusion for The Sydney Festival and Wrung Out with Glynn Nicolas. Working as a presenter/model for the Seven Network on Man O Man. Tracie was also apart of the creative team and Assistant Choreographer in the Jupiter Casino Show Hidden Palace on the Gold coast.

Tracie was dance captain for IMG productions' My Fair Lady and Singing in The Rain and was resident choreographer for Jacobsen Productions' Sisterella. Also the resident director and resident choreographer for the Australian production of " Oh What a Night".

She played the role of Travesty, and was Dance Captain on the feature film Moulin Rouge, under the direction of Baz Luhrmann and John O'Connell, and also worked as Dein Perrys' assistant on the Fox film Bootmen.

Tracie worked with Glenn Close and Harry Connick Jnr as assistant to the choreographer on the film South Pacific in Australia and New York .The Motion-Capture Feature Film "Happy Feet" with George Miller for Warner Bros/Kennedy-Miller.

Tracie was the Assistant Choreographer/Dance Captain/ Ensemble and Swing in the Area Spectacular Hugh Jackman in The Boy From Oz. Touring through-out Australia under the direction of Kenny Ortega.

Resident Director/Resident Choreographer on Disney's High School Musical Live On Stage.

Other Television choreographic work, Australian feature film Danny Deckchair with Miranda Otto and Ryss Inis. Love Bites under the direction of Brian Grunt for Fox TV.

Tracie was a part of the choreographic team and played a principle role in the Australian Premiere of The Candy Man with Wayne Scott Kermond, assisted Kelley Abbey on the promotional performance of So You Think You Can Dance for the Australian Idol Finale on Channel Ten at the Opera House.

Tracie is looking forward to being a part of Happy Feet 2 with George Miller in 2010.

Tracie is also a Pilates instructor with a Diploma in the Pilates Method from the University of Technology NSW.

Our next ‘On The Couch with Christine' interview is with the Director of The Next Step, Jason Lewis. Check out the details below for info on their show that is happening at Luna Park next Saturday 21st November.

The Next Step, Directed by Dein Perry, Created and Choreographed by Jason and Kris Lewis is BOLD, INNOVATIVE, FRESH and GUARANTEED to IMPRESS.

This all male group of young performers will set the stage on fire with their unique fusion of hip-hop, tap, break dancing and live music. The vocalists, musicians and dancers fuse together to create a high voltage, mesmerising show.
It's street and stage, dance and music at its finest.

The Next Step has performed on the MTV Awards, Splendour in the Grass, The Helpmann Awards, alongside Sir Elton John and Mornings with Kerri-Anne.

After SOLD OUT shows at The Metro Theatre, Sydney in 2008, The Next Step are bringing their brand new show to the Big Top at Luna Park for 1 show only, Saturday 21 November, 2009. Book now, so you don't miss out!

The Next Step has released their EP, which features three tracks and three music videos including their debut single and remix "Do It On The Dance Floor".

This show is fun, entertaining and suitable for all ages. The Next Step is sure to leave you short of breath. To buy TICKETS to the Big Top Show visit www.thenextsteponline.com

Our next On The Couch With Christine Segment is with François Klaus and Robyn White from the Queensland Ballet.
With 24 young, athletic and technically accomplished dancers, Queensland Ballet is a vibrant and creative company which presents a varied repertoire of dance works. One of only three full-time professional ballet companies in Australia, Queensland Ballet is a showpiece of the State's arts culture.

Under the artistic direction of French-born François Klaus since 1998, the Company presents approximately 100 performances each year. Its repertoire ranges from popular classics and full-length story ballets to new works in a variety of dance styles by reputed Australian and international choreographers, as well as emerging local talents. Works such as The Little Mermaid, which are designed especially to appeal to children and families, are another much-loved feature of the annual program.

In addition to performing in Brisbane, the Company tours each year to centres large and small in regional Queensland, as well as making interstate and overseas visits. With its audiences growing each year, Queensland Ballet enjoys a well-established reputation for passionate and innovative performance, both nationally and internationally.

The Company's home is the historic Thomas Dixon Centre for Dance in Brisbane's West End. The building was first built as a shoe factory in 1908. It now boasts four large dance studios, one of which, the Charles Lisner Studio, can be adapted as a comfortable and intimate performance venue. These excellent facilities enable the Company to offer a full range of training and community access programs.

With a firm commitment to nurturing young talent, Queensland Ballet offers dance students from as young as 11 years the opportunity to access the skills and experience of its artistic staff, ensuring a very high standard of training in the Junior Extension and Professional Year Programs, as well as in the Queensland Dance School of Excellence (a program offered in partnership with Education Queensland).

History of Queensland Ballet
Queensland Ballet was established in 1960 by Charles Lisner OBE. Lisner trained with Edouard Borovansky and danced with his ballet company before going to London to continue dance studies with the Sadler's Wells Ballet School. He later joined The Royal Ballet, Covent Garden. In 1953 Lisner returned to Australia to open the Lisner Ballet Academy, and in 1960, the Lisner Ballet Company.

The Company was re-named Queensland Ballet in 1962 and became the first ballet ensemble in Australia to tour to regional centres, a commitment which continues today.

In 1974, Charles stepped down as Artistic Director and Chief Executive Officer, to be replaced by Harry Haythorne. Following Harry's departure in 1978, founding Company member and Principal Dancer, Harold Collins, was appointed as Artistic Director. Collins led the Company until his retirement in 1997, maintaining Lisner's commitment to the creation of uniquely Australian dance, and to forging a strong and independent company.

Following an impressive career in Europe as a principal dancer, teacher and choreographer, François Klaus was appointed Artistic Director and Chief Choreographer of Queensland Ballet in 1998. Under his artistic stewardship, the Company has continued to prosper and grow, forging and ever-more significant place in the Australian cultural landscape and winning international acclaim.

Hi Everyone,

In January I was lucky enough to be in the UK and caught up with Aussie dancer Adam Scown who now calls London home. So just what is it really like to be living and dancing abroad? I had a chat with 25 year old Adam to find out!

Christine: So Adam - how long have you been living and working in London now?

Adam: I moved to London in May of 2007 - so in total 2 ½ years now (with a couple of visits back home for a month or so).

Christine: What made you decide to leave Sydney and try your luck in the UK?

Adam: I recall visiting a friend in the UK back in 2003 and knew that I wanted to come back and work here. But at that time I didn't know if it was something I really wanted or a spur of the moment thought. So I continued to work extensively back home in Australia in all aspects of the dance industry. Then there came a time when I wanted the feeling of being challenged more - so I packed up and made the move to London.

Christine: Had you done any professional gigs before leaving Oz?

Adam: Yeah I had done loads of jobs in Musical Theatre including Boy From Oz (with Hugh Jackman), Oh What A Night, Aloft and Grease. I also did some film & tv including Bootmen, Oscar and Lucinda (with Cate Blanchett), a role on Home and Away and worked with choreographer Kelley Abbey on Happy Feet. As well as that I did a lot of commercial gigs, working with different choreographers which proved a bonus for me when I moved to the UK as I was able to adjust to all different styles of dance.
I would have to say that moving to London with so much previous experience definitely helped!

Christine: So what have you been up to over here?

Adam: Well when I first arrived it was extremely daunting. I couldn't believe I had finally made the decision to move and that I was actually here. In the past 2 ½ years my career has focused mainly on musical theatre and I've done shows such as Dirty Dancing, High School Musical, I played the lead role in Oh What A Night, and was part of the original cast of a brand new musical called Hell-sing. I've also done a few things on tv including a spot on a show called Octavia, as well as being a choreographer on Don't Tell the Bride. I've done lots of photo shoots for upcoming swimwear labels/designers, as well as editorial shoots. So there's definitely lots of variety! Commercial gigs are also happening for me too so I guess there's a lot of opportunity over here in all aspects of the industry. But there's just as much competition too.

Christine: You studied at Brent St Studios in Sydney for many years, how do you think the training there has helped you find work over here?

Adam: I did train at Brent St for a number of years and all in all I would say the most beneficial aspect that aided me more than anything was the amount of male teachers I got to learn from. Their influence was huge! I think these days it's so important that men dance like men and Brent St exposed me to so many strong male choreographers. I learnt a great deal from them and have used it to my advantage over here in the UK.

Christine: How did you go about getting the appropriate visas to work in the UK? Was it difficult? And how did you find an agent?

Adam: I was quite lucky actually in regards to the whole visa issue. Many Australians who work in the UK seem to have problems with it and their time here is limited. Being half Italian though, I managed to obtain an Italian/European passport, which allows me to work for the rest of my life both here in the UK and in Europe. It definitely is a luxury. It took a little while to obtain the required documents from my parents and their parents but it was definitely worth the hard work!

In as far as getting an agent, I had a few friends who were already in the industry over here and they gave me a short-list of great agents who were worthwhile being with. There is a book titled ‘Contacts' which is available in the UK which lists all of the agents in film, tv, commercial dance and musical theatre. It provides lots of helpful information, but knowing who's good or not is a hard task. Here in the UK you can have as many commercial dance agents as you want, but in musical theatre only single representation is allowed. This allows the agent to focus on you solely as an individual and to push you for auditions in the genres of dance you're strongest in.

Christine: What do you think are the biggest differences working in the UK to working in Australia?

Adam: One of the major differences I've noticed, especially in regards to musical theatre is that in Australia you go for an audition and if you're perfect for the show talent wise then you get it. Whereas here in the UK, each show requires different and specific looks etc and with the wide array of people around they can be a lot more picky! If they want a blonde haired blue eyed person then they will get one -no matter how talented you may be. I guess you have to fit the mould as they say.
I've also noticed that here in the UK they can take quite a while to cast shows. They can take months. It can be quite nerve racking waiting to find out if you've got a show over such a period of time!

Christine: What advice would you have for someone wanting to pursue a career in the performing arts in London?

Adam: I would absolutely say go for it. Whether I was going to succeed or fall flat on my face - at least I had the guts to say I tried. My advice would be to gather every bit of information needed before you head over. Like agents details, know who you want to have meetings with, sort out your bank account( which can either be done in Australia before leaving or done here in the UK) and most importantly know what you want to set out to achieve and trust that you can achieve it. I won't lie, it definitely takes a little while. You don't just land a job straight away. It really depends on how patient you are and how much you're determined to succeed.
Having said that - now that I am here and working, London has given me more confidence and enabled me to know within myself my strengths and weaknesses as a performer.

Christine: Do you think it is important to be able to sing?

Adam: If you want to come over and concentrate on commercial dance, then no, it's not that important. But if musical theatre is what you're after then being able to sing well is definitely a bonus. I have found that the UK has overall stronger singers. I guess you don't have to have the most amazing voice, but having confidence in your own abilities vocally would be a plus for sure.

Christine: I have been told that there is a much broader range of work available in the UK - for example trade shows, hair shows in Europe etc - have you found that to be the case?

Adam: That definitely is the case. Trade shows, bridal shows, hair shows and other corporate events are a big part of the commercial dance scene. These pop up on a regular basis and offer dancers a lot of work. These jobs happen in the UK and all around Europe so it offers dancers a great way to travel across Europe and discover different places whilst being paid to do it. So it's a bonus for sure.

Musical theatre provides the same as you have plenty of shows in the West End which are always casting at different points in the year. You also have touring musicals which travel around the UK as well as internationally, giving dancers and actors a chance to see different places.

In comparison the Australian market/industry is quite small and limited. The UK provides an expansive array of work opportunities, so you can potentially have a better chance of work in all aspects of the industry depending on what you want to pursue.

Christine: What qualities do you think make one dancer more employable than others?

Adam: I think these attributes can vary depending on the job and what's being cast. All in all a dancer with personality and an individual warmth makes a unique performer. Obviously being technically great at your art is necessary but having that something extra like being able to flip or break dance or having an individual flair can separate you from the crowd.

Christine: What advice would you give about going to auditions? How can you stand out and get the job?

Adam: Auditions are always daunting no matter what they are for. I still hate them to this day. But the one bit of advice I'd give is to know your own ability and to go out there and bust out. Having confidence in yourself definitely shows and it helps big time. One of the worst things people do is check out the competition within the room and compare themselves to others. Stay focused on yourself and use each stage of the audition process as a stepping stone to obtaining the job!
As far as standing out amongst the crowd, just be strong and be likeable. No-one wants to wok with unprofessional people.
If you have confidence in yourself then the people judging will grow to have confidence in you as well.

Christine: What do you love the most about living and working in London?

Adam: I absolutely love the lifestyle more than anything. The constant hustle and bustle and fast pace has made my time here fly by. I love the opportunities that are given here for dancers and the amount of work that's available at your finger tips. It's up to the individual to get out there and grab the jobs.
Another perk of living in London is the fact it's so close to Europe and traveling can be quite cheap and not that far. In between jobs I've managed to get away on holiday a few times and visit places I've never been to. Traveling is one of my favourite things to do.

Christine: What do you miss the most about being away from Australia?

Adam: Wow where do I start? There are so many things I miss. Obviously my parents and family. As I come from a close knit family being away gets difficult at times as your parents aren't around the corner. Being half Italian I miss my Nonna's cooking and all the Italian food she makes. And I miss my friends and just the usual people I work with back home.
One of the biggest things I miss is the sunshine and warmth of Australia. The quality of life is a lot better back home and to just wake up in the morning without having to put loads of layers of clothing on would be nice. Hopefully I will be able to come back home soon enough to visit and enjoy all the comforts of Aussie life. I definitely wouldn't change a thing in regards to moving to the UK though. Regrets I definitely don't have any!

Christine: Well thanks so much Adam for taking the time out to have a chat today. It has been great to catch up! Keep me posted and perhaps we can chat to you again in the future and see what you are up to next!

So - there you have it guys. The low down from someone living and working in London.
If you have any questions - drop me a line and I can find you an answer from Adam or one of the many other Aussie dancers taking on London!

Till next time!

WHATEVER YOU ARE DOING - DO IT WITH PASSION!

Christine Denny

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

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

What better way to enjoy the amazing weather we had in Sydney yesterday than to go to the park and plant a tree for Planet Ark's National Tree Day! That's right Clint from DanceLife and Christine Denny from TapatakOz and On the Couch With Christine ventured to Sydney Park to get GREEN. National Tree Day, is Australia's largest community tree-planting event. In its 14-year history more than 2 million volunteers have planted over 13 million native trees and shrubs!