10 Questions With…

10 Questions With…Patti Eylar

May 7, 2010 by 4dancers

Today I am just thrilled to introduce a lady who was with Chicago City Ballet Company when I studied there. Her name is Patti Eylar, and I can recall sitting at the side of the studio on the floor, watching her rehearse, and being amazed by her focus, her technique and her beautiful arms…

I have been fortunate to cross paths with many wonderful people in the dance world over the years, and I love having the opportunity to share some of their stories with you here on 4dancers…

1. Can you tell readers a little about how you became involved with dance?

My mom started me in ballet at age 7 because she always wanted to take ballet herself but her family couldn’t afford it – she was the youngest of 10 siblings. About 10 years ago I reconnected with my first ballet teacher. I found her because she produced a video (Teaching the Most Important Levels in Ballet) and I saw the ad in one of the dance magazines. I was lucky to have such a great start.

2. Where did your dance career take you?

I studied at the ABT school and went to a lot of auditions in NY. I lucked into a job in Chicago (with the Lyric Opera Ballet, which later was the basis for Chicago City Ballet) and have been here ever since. The companies I danced with here went on not-so-glamorous tours – mostly bus tours – but I did get to tour France, Italy and Tunisia, and also the east and west coasts of the good ol’ USA. Even in a small company, I think the opportunity to travel AND dance is wonderful. True, sometimes your dressing room is the band room, but other times you find yourself in the most beautiful theatres.

When I was on scholarship at ABT they used some of us as snowflakes in “Nutcracker” and I got to dance at the Met – I know it was just “snow” and the regular company members were glad not to be in it, but it was quite a thrill for me. (Later, when they came to Chicago on tour I was asked to fill in at the last minute and dance “snow” at the Opera House.) Chicago City Ballet premiered at the Auditorium and I’ll never forget how exciting it was to be onstage for “Rubies” when the curtain went up.

3. What are you doing now in the field?

I’m the co-director of Chicago Ballet Arts, a small school with a big heart and a great faculty! We believe dance is good for everyone, attempt to make it affordable to everyone, and teach the real thing to everyone. I didn’t start CBA, it was founded by Clare Carmichael, but have been a co-director with Leslie Saunders for about 5 years now and am very proud of the school and what we accomplish there. We’re currently preparing for our annual spring concert and benefit (June 12 & 13 J) – I actually choreographed something, which is a first for me. Joffrey dancer and CBA faculty member Calvin Kitten will be our guest artist, along with Jennifer Goodman, a former Joffrey dancer.

I teach the Intermediate class at Lou Conte’s twice a week as well. I love teaching there – it’s a wonderful environment and I meet some fantastic people. I still take class regularly – at Lou Conte’s and CBA mostly. I’m a member of the Board of the Civic Ballet of Chicago (the pre-professional performing company of the Ruth Page Foundation), the Joffrey Women’s Board and the Dance for Life Committee.

4. Can you talk a bit about your involvement with Dance For Life?

I attended Dance For Life many times when it first started but just became a co-chair last year. Everyone involved has been fantastic – Keith Elliott, co-chairs Joe and Kevin, and the whole committee. It’s obviously a great cause, but also a great performance every year and you really couldn’t ask for a better group of volunteers. I love seeing dancers from all the companies join together in the finale.

5. What do you think is the most important thing for a dancer to realize?

Wow, that’s a good question. I’m afraid this is going to come out the wrong way, but I think we have to realize that it’s a privilege to be able to share our art. Dancers provide the talent, of course – there wouldn’t be a company without them – but dancers need others to help present that talent to audiences, and audiences to come to the performances. The companies I danced with, CCB and Ballet Chicago, were often struggling financially so I was grateful to the directors, funders, Board members and audience members who did keep the company going. I was happy to be able to perform the ballets I loved and to have a great city to live in as well.

6. Has your view on dance changed over the years? If so, how?

I don’t think my view has changed much, except I’m more protective of the older dancer now, having been there. I know the young dancers have to have their space and time marches on, but younger dancers will be older dancers soon! It was frustrating to me to be finally feeling like I knew what I was doing and then to be replaced. I know there are practical considerations, so maybe my frustration is more with the way these things are generally handled.

7. Can you offer any tips for those who want to dance professionally?

I fully realize that it’s harder to get a job today than when I was 19, but even then it wasn’t easy. I was a few months away from going back to college when I landed my job with Maria Tallchief at the Lyric Opera Ballet, and then I ended up dancing professionally for 18 years. Perseverance is important, of course, but also realizing if you’re on the right track or not. I see some aspiring dancers who don’t seem aware of their weaknesses, so are doing nothing to improve them, and seem to have no sense of urgency! Look at the dancers in the company you aspire to – can you see yourself dancing with them? If not, why not? Is it something you can change, or do you need to look elsewhere? The internet is a big help in that regard – you can research the companies and discover where they get their dancers, height requirements, etc.

8. Would you share a favorite moment from your dance career with readers?

I had a lot of favorite moments, because overall, I loved being a dancer. There were certainly sad, frustrating and depressing moments – disappointments in casting, performance opportunities, abilities, etc. But I loved going to work every day – how great to have a job doing what you love that also keeps you in shape. I only had one injury, a stress fracture, that kept me out of class for a few weeks, but other than that I never missed a day. I loved learning Balanchine ballets, which I didn’t grow up with, but are just indescribably wonderful to dance – even for corps members, as I usually was.

I know most dancers get tired of dancing “Nutcracker”, but I just really enjoyed performing it. Most of the time our regular seasons were short, but we did enough “Nutcracker” performances to really get comfortable in a part, and I loved my roles so it was just a great experience all around. Taking class from and being directed by Larry Long was part of it – I had been taking class from him for over 30 years when he passed away last summer – a tremendous loss for us all. His sense of humor was legendary – every year I looked forward to the time in rehearsal when he would act out the mouse counting the chimes as the clock struck midnight – a priceless rendition….

9. What was it like to work with Maria Tallchief?

Life-changing, no question. I would not have had a career at all without her. Not everyone seemed to be able to work for her – she’s very dramatic! But she had a way of making every little detail VERY important – and guess what? That’s what classical ballet requires. If you saw 100 dancers in a class – who would you watch? The ones who are treating it as an exercise class or the one who is displaying musicality, attention to detail, artistry – even at the barre? I was not a prodigy or virtuoso dancer by any stretch of the imagination, but I actually think that’s more inspiring – you actually can make a career for yourself even if you can’t manage 32 fouettes! But you do have to respond to what your teacher or director is telling you. It took me awhile to accept what Miss Tallchief was teaching – I did not have any SAB training – but I did come to understand what she meant and it helped me immensely as a dancer. It wasn’t easy though, and I do have some good stories….

10. What is next for you in terms of your career?

I’m very happy co-directing CBA and teaching at Conte’s. I love teaching – I always hope I can be helpful.

10 Questions With…Danny Ryan

April 20, 2010 by 4dancers

Today for our 10 Questions With… feature we have Danny Ryan…

1. How did you get involved with ballet and what are you doing now?

From the time I started school I was exposed to the arts. The elementary, middle and high schools I attended were all public arts schools, which covered all arts areas as well as dance. However, I never liked dance, and I had a terrible fear of performing on stage. Once I arrived in middle school you were allowed (in your second year) to choose two arts areas to focus on. I started playing music in elementary school so band was a natural choice, but dance I only choose because my best friends father was the teacher. That class consisted more of your creative movement, and introduction to very basic dance composition rather then any “real” technical training. It wasn’t until my sophomore year in high school after almost dropping the dance program completely and having suffered a soccer injury, that a man named Rafael Delgado, a Master Ballet Teacher, took me under his wing and taught me as much as he could in four years.

Now, after performing for the Louisville Ballet, and the Kansas City Ballet I am dancing for Ben Stevenson O.B.E. at the Texas Ballet Theatre in Dallas Fort Worth.

Danny Ryan

2. Do you have any advice for men who want to do this professionally?

First and foremost work your butt off!!!! Closely followed by dance like a man, be strong on stage but also be beautiful. Performance quality, acting, line, and the ability to convey emotion on stage will always trump tricks. Work on those things, get a very strong and clean technique. You can always work on the tricks later.

3. What have you found to be the most amazing thing about ballet?

Here is a recent example of just one of the things that makes this art form so amazing. At TBT we are in between performances of The Sleeping Beauty. In a recent show I went from 18th century court man, to an evil monster, to a prince from the south, to a peasant, and then Puss n’ Boots. That’s five completely different worlds, people and emotions in three hours. Not many people will ever know what it might be like to portray a cat, or a prince etc. and that’s what is so amazing about ballet.

4. Can you share an experience in dance that was particularly amazing for you?

As an apprentice for the Louisville Ballet, during my very first season in a professional company I was given the oppourtunity to perform Twyla Tharp’s Nine Sinatra Songs. It was the second rep show of the season, and my first major role. It was a Saturday night and the show was sold out, Wendy Whelan and Albert Evans were performing with the us as guests. My partner and I were the first pas in the ballet and I will never forget how I felt once we made it through and the crowd broke out clapping. I thought that feeling couldn’t be topped and walking off the stage I was so high on dance. The first person to grab my arm and say “great job!” was Wendy. I will never forget that.

5. Is there anything you don’t like about what you are doing?

I definitely don’t like when you go to the doctor to have them x-ray your foot to see if you’ve broken any bones, and as he’s looking says “well there is this” but continues on as if it doesn’t matter. So then after he’s done you ask him what was that he saw but passed over, and his response is “well since you’re a dancer its normal, its not a big deal just some wear and tear that is common among those that dance, but if you weren’t a dancer it would be a concern.” Yeah, its gonna hurt really bad later on!

6. Do you have any favorite dancers?

Nureyev is my number one, and when Yuri Possokhov was still dancing for San Francisco he was my hands down favorite of that time. Currently I really like John Michael Schert of Trey McIntyre Project. He has incredible lines, amazing articulation, control and musicality. I will forever love Wendy Whelan, the master of Mr. B’s leotard ballets. My two favorites however are Lucas Priolo and Carolyn Judson. Lucas is the most handsome prince and partner, the emotion and power behind every performance is amazing and his Romeo will make the hardest of people cry. Carolyn unleashes a magic on stage that Houdini himself would marvel at, pure classical lines and performance quality.

7. What do you think that the most important thing is in terms of practicing ballet?

The most important thing is finding a teacher that believes in you, pushes you and gives you sound guidance. Once you find that person the next thing is to work with them as often as you can. If they do a summer program be sure to go, no matter your age. Find a way to make it happen and submerge yourself, turn off the cell phone for four weeks and work!

8. Do you think you have developed skills in dance that have transfered to the rest of your life? If so, what are they?

Absolutely, in dance if you want to be good or become better you have to work hard, and that applies to anything else you pursue outside of dance. Also teamwork, problem solving, working under extreme pressure and with extremely sensitive and sometimes very difficult people. All these skills will also benefit you outside of dance.

9. What is the best piece of advice anyone has ever given you about dance?

First and foremost dance is a business.

10. What is next for you in your career?

Next on my plate is being at TBT and learning as much as I can from Ben and the artistic staff here. I have found the place that works best for me. This summer I will be enjoying home in Milwaukee to see my mom get married and then spending four or five weeks with my teacher John Magnus. Also I’d like to continue developing my choreographic skills and start teaching more. I’m trying to gather as much knowledge and information as I can, so down the road after my performing career I can stay in this field as teacher, ballet master, or director. This is what I love and care about and I want to pass it on.

Danny Ryan began his professional training with Rafael Delgado in his hometown of Milwaukee. He then went on to further his studies with the Joffrey Ballet School before joining the Louisville Ballet in 2006. After spending two seasons with the Louisville Ballet, Mr. Ryan joined the Kansas City Ballet. Mr. Ryan’s repertoire includes works by Twyla Tharp, Trey McIntyre, Alun Jones, and Agnes De Mille as well as world premières by Graham Lustig, Adam Houghland, and Lauri Stallings. Mr. Ryan has appeared as a guest artist in England, Canada and throughout the United States and during the offseason trains extensively with teacher and mentor John Magnus. Currently Mr. Ryan is performing with the Texas Ballet Theater under the directorship of Ben Stevenson O.B.E.

SayBallet: A Unique App

April 6, 2010 by 4dancers

Today we have an interesting feature for 4dancers readers–the team behind the “SayBallet” app answers questions about the process of going from the idea to the finished product….

1. Carol, what is your background in dance?

My name is Carol Richmond and I am the Director of the Carmel Academy of Performing Arts. The Academy is located in downtown Carmel, California and was built as a dance studio by the late Joanne Nix in 1954. I bought the studio in 1989. Currently we have 35 teachers on staff and teach ballet, tap, jazz, modern, contemporary, voice, drama and all musical instruments. I was originally trained in ballet by Billie Jacobson, a Chicago Opera Ballet dancer turned teacher. My true formative years in dance were in Texas studying with Doria Avila, a retired Broadway choreographer whose claim to fame was being Judy Holliday’s partner in many Broadway productions. He formulated my belief there was a big world out there and I was going to get out of South Texas and see it! I attended the University of Texas at Austin and studied under Ygor Youskevitch, a tough taskmaster. I auditioned for the San Francisco Ballet and was cut while doing plies at the beginning of the class by one of the Christensen Brothers and that began a 5 year hiatus from dance. After moving to Carmel, I connected with Mrs. Nix who owned the studio I now own. She taught me how to teach and I found I loved working with young people. That was in 1978. The rest, as the say, is history.

2. Can you tell me what SayBallet is and who it is designed for? (Carol)

SayBallet is designed for the teacher or the student. I found after years of teaching, I am not able to demonstrate the way I did years ago. For me, the app is a teaching tool for the classroom. For the student, it is a way to not only hear the french terms stated, see what the terms mean, but be able to study how the step is performed.

3. How did the idea for this app come about? (Carol)

Phillip Corrigan, the software designer that created the app, came to me with another idea for a fundraiser for the non profit dance organization I founded. It was a great idea about a photo of the Nutcracker that people could download for .99 as a screen saver. One thing lead to another, I talked about flashcards I had created five years ago for classroom study…and Phillip thought the flashcards could be beneficial to students and teachers in an app form.

(Phillip) I see a future where more and more Internet access and personal computing functions are delivered on small portable personal devices. Apple, with their iPhone, is the first company to deliver a product that is not only a powerful computer in the form-factor of a phone, but is also very enjoyable and easy to use. Apple’s revolutionary touch interface is one of the keys to the iPhone’s incredible success. I believe that the touch interface and the simplification of the user’s interaction with the device (i.e. users don’t have to know and worry about file systems, users don’t have to follow complex software installation processes, etc.) will also make the Apple iPad a very successful product. These two products are ushering in a new era of personal computing.

But beyond the technical merits, over 90% of the younger generation prefer the iPod (and the convenience of the iTunes music store) over all other MP3 music players. This generation is purchasing the iPod Touch (if they can afford one) and later migrate to the iPhone, because they already have an investment in iPod Touch/iPhone app software (not to mention their iTunes music library).

To-date over 75 million iPod Touch/iPhones have been sold worldwide in 98 countries. And that number continues to see enormous growth while competing smartphone product sales are either stagnating or seeing declines. Two years ago, the smartphone market in the US was dominated by 33% RIM Blackberry, 33% Microsoft Windows Mobile, and 33% Palm. Today, the market is 33% RIM Blackberry, 20% Apple iPhone, and 10% Android.

4. What are the features of the app? (Phillip)

About the app: The majority of kids prefer to play games on their devices, but I see an opportunity to create fun-to-use educational applications. The SayBallet application was originally conceived as a flash card application for learning the French ballet terms. I had spoken with ballet instructors and repeated heard that they wished their students would learn the ballet terms outside of class, so that they could focus dance inside of class. During the course of our development, the app morphed more into a multimedia reference glossary of ballet terms. Students can:

– Search for a ballet term

– Read a description

– See a video or picture of the movement or position

– Hear the term properly pronounced

– Practice saying the term (with voice recognition)

– Take a quiz to test their knowledge of the terms

5. How difficult was it to develop the app? (Phillip)

I have 20 years of computer software development experience. For me it is not that difficult, but there is a learning curve – I had spent a year (part-time) learning to develop applications for the iPhone. The actual application took about 6 months to develop (again, I did this in my spare time). Our follow-on apps, SayTap and SayJazz will probably take around 3 months to complete (one month if I could afford to work full time on the projects). To be successful as an app, the software must not only be functional, but also look fantastic – a lot of time and effort must be invested in design. There are over 150,00 apps now available in the iTunes App Store – in order to be noticed by consumers, the app must be designed very well.

The international market for apps created by Apple, is also unique. From the beginning, I designed the app to be used by international users. I translated the app into 10 languages. To-date, we have had sales in 31 countries. Prior to the iPhone and the iTunes App Store, it was inconceivable for me, as an independent software developer, to be able to independently publish a software application and have sales in 31 countries within the first 3 months.

6. Are you planning other apps in the future for dance, and if so, what are they?

We are currently in production for SayTap, SayJazz, SayHipHop and all 10 of the ballroom dances.

7. Do you work with others who have ideas for dance apps, and if so, what are you looking for?

It would be of great interest to work with others with ideas we have not yet approached. Both Phillip and I are open to interest and look forward to other opportunities to create teaching tools for educational dance/music products.

8. How has this app been received thus far?

The app has been a huge success, with sales in 31 countries. We expect our follow-on dance application to experience similar sales. Our big challenge is marketing – with over 150,000 applications available in the iTunes app store, it is difficult to get noticed. But with the email flyers that we send out, we are experiencing constant daily sales. With more dance apps in our portfolio, we expect to eventually grow brand awareness. Additionally, every year a new group of students start dance instruction. And every year the adoption of the iPhone in this market demographic increases.

9. How long did it take to develop the app from the idea to the finished product? (Phillip)

It will probably take around 3 months to finish SayTap and SayJazz. We also have SayHipHop and the ballroom dances lined up as well. I’m trying to also add new features to the application so that users will be attracted to using it more often. Currently, I hear that very young children love watch the videos over and over again. Older students probably only use the application occasionally. Experienced students may look at the application once or twice. I’m trying to design features and learning tools that will attract students to use the application more frequently. I’m also investigating adding social networking features into the app.

10. What has been the best part of the process for you both?

Carol:

The best part for me is the knowledge that this app can create another avenue of learning for young people interested in dance. I believe in a solid, technical base of study, terminology, and understanding the basics is vital to the 2010 dancer that must be well versed in not only ballet but all of the other styles of dance and music.
It has also allowed me to grow as a teacher and mentor to young dancers. Phillip has created an opportunity for me to learn (a little bit!) about an area I didn’t know anything about! His “detail oriented” personality and my “big picture, let’s go for it” attitude seem to create a great product!

Phillip:

For me the process is a lot of fun. I enjoy working with our young dancers. I learn a lot about different forms of dance. My daughters and wife are all interested in dance, so they take an active roll in the design process. Programming the iPhone (and iPad) is a challenge and a lot of fun. I also find the business aspects of creating and marketing a product, building a business, and interacting with an international customer base very enjoyable.

The cost of this ap is $4.99

10 Questions With…Rick Hilsabeck

March 30, 2010 by 4dancers

Today I have the pleasure of introducing one of my former dance instructors, Rick Hilsabeck. After many years of ballet, I went to take jazz classes at Lou Conte Dance Studio and was fortunate enough to have him as a teacher there. Rick is not only a dancer, but a singer, actor and painter, as you’ll see here…

1. What is your background in performing and in dance?

Initially, I was involved in gymnastics as a kid and always loved jumping around and flying through the air. I did a lot of tumbling until I realized there wasn’t much of a future for professional trampolinists.

I got involved in dancing for the stage through my high school choral music department. They did a musical every spring. They needed boys who could and were willing to lift the dancing-chorus girls over their heads and such. (Always a good way to get to know the cutest girls in school!) I had always loved singing and after high school, I decided to give it a go in show business. I performed with a wonderful singing and acting group in Los Angeles called THE YOUNG AMERICANS. I was 18 and pretty green. It was there that I got some of the greatest early training and performing experiences of my life. Doing television and a great deal of touring was an amazing opportunity. It was then that I found out if you really wanted a shot in this part of the business, you had better get some real dance training as well. This was the time of A CHORUS LINE. I had aspirations of heading to New York and the Great White Way.

On my way to New York, I stopped back in my home turf of Chicago to get more professional experience and save some money. That was where everything changed for me in the dance department. I began taking classes at the well-respected LOU CONTE DANCE STUDIO. Lou gave me a scholarship and told me that taking daily ballet class was a must and that it was the basis for all solid and lasting technique.

2. Can you share any advice specifically for men in terms of navigating a dance career?

Take ballet. Lots of it. Guys have a bit of an advantage. We can start dancing later and still have a bit of an easier shot at it. The numbers are also in our favor. There simply aren’t as many men and boys interested in the first place. Get strong. Along with a well-rounded variety of disciplines (ballet, jazz, tap, modern) etc., lift weights. Strengthen your back. It will be the foundation you will always depend upon. Especially when you spend years lifting women over your head and have the responsibility of setting them down to earth safely. Another element of the well-rounded dancer is their acting ability. In my opinion, even the most proficient and technically perfect dancer can be uninteresting on stage without a certain presence. Take a good acting class.

Find good teachers. And men should also take a men’s ballet class now and then. I took a men’s variations class and it was fantastic.

Watch Astaire, Kelly, Baryshnikov, Fosse, all the greats. Emulate.

3. Tell me a bit about your experience with Phantom of the Opera in terms of how dance training can impact a performance in musical theater.

My dance training and experience was definitely a great help in my experience playing The Phantom. In my view, there is a certain physical quality and carriage necessary to give that character qualities of grace, mystery and command. The only portions of your body exposed are your hands and one side of your face. So you have your body and voice to convey the rest. Also, just the physical demands of that role are such that the better shape you are in, the longer you can play it and the healthier you will remain. I played the role for four years and most of that time I remained healthy. Having the dance discipline was most definitely key in my longevity playing The Phantom.

4. What was it like to be a principal dancer at Hubbard Street Dance Company? Any favorite memories of that time in your life?

Being a part of Hubbard Street was some of the best years of my life. I wouldn’t have stayed eleven years had it not continued to be artistically satisfying and challenging. I was so fortunate to have been under the great leadership of Lou Conte. Not only was he a great dancer himself, his ability to always keep you striving for perfection and attention to the details, is unique.

His Broadway experience lead the company to consist of individuals, not just tools for realizing a choreographic style. Each dancer had their own unique and recognizable personalities and was encouraged to nurture that. He also embraced different body types (unlike many ballet companies). We came along at a time when Chicago was ripe for a new and different kind of dance company. We were really lucky to have the support of many fans and critics who helped propel the company forward to national and international notoriety and acclaim.

More specifically, having the opportunity to dance in Paris, Buenos Aires (the tango clubs…fantastic!) and other faraway places holds memories I will always cherish. Hubbard Street was really our family. We grew together and I think helped to establish a unique and lasting creative force that Chicago can be proud of.

5. Do you have any tips or advice for those who are going to be touring?

Practically speaking, try to travel light. I always lugged around way too much stuff. Therefore, I didn’t bring as many things back from my travels as I’d liked.

One of the great things about touring, whether it’s in this country or anywhere else, is the chance to see parts of the world you may not necessarily choose to go otherwise. Get out and about if your schedule allows. Bring a camera and document those irreplaceable times. Keep a journal.

6. What is it that you love the most about performing?

It is a distinct privilege to get to do what you love to do and be paid for it. Many people don’t ever have that experience. There is nothing like a live performance, whether it’s a one time shot or a long run. Each performance has it’s own life. There are times when you find that ephemeral “zone” during a performance that sometimes makes all the hard work and long hours really worth it. I think all performers experience this from time to time. At least, I hope so. I’m very lucky to do what I choose to do.

7. You recently were cast in the Broadway production of Billy Elliot. Can you talk a bit about what it is like to perform on Broadway?

For many actors, having a Broadway job is a kind of pinnacle. Usually it has the best of the best. Having a job there is exciting and it is a privilege. Billy Elliot is a wonderful show. It is great being in a big hit on Broadway. It has its glamorous moments. Many times, we will find out that there are celebrities in the audience. That always makes for a fun performance. But it is also just plain hard work. We have an eight show a week schedule and with constant rehearsals, it can be a long week. But it is so good to have such a great job, especially in these times when so many of our union members are out of work. There is a certain level of excellence that is expected of everyone in the building. And when you’re not working here, you miss it.

8. Is there a high point in your career that you can share with readers?

I choreographed a bit when I was with Hubbard Street. I loved it. Seeing your piece performed for that first time is really a singular thrill.

Certainly, having played The Phantom in The Phantom of the Opera was one of those high points as well. It remains the most successful musical ever and to have been a part of that is something I will never forget. It’s also where I met my wife, Sarah Pfisterer. It doesn’t get much better than that.

9. You are also an artist. Can you tell me a little about what you do and how this fits into your life?

Even before I became interested in the theatre, I had wanted to study art. Several years ago I began painting again in earnest. It is such a different form of expression. You are your own boss. There is no one “out there” giving you notes or telling you how to do something. It’s all you. Painting is zen. I can be painting and all of a sudden realize that four or five hours have gone by in the blink of an eye. I really enjoy getting out of my head when I pick up a paint brush. It strikes a good balance.

10. What is coming up on the horizon for you?

Other than my job at BILLY ELLIOT, I don’t know.

At this stage, I try not to plan too much any more. Things always turn out differently than you plan anyway and you can set yourself up for disappointment if you try and adhere to plans too closely. I’ve done all right so far and have come to trust that things somehow turn out. I have an art show coming up and that is always a good thing to work towards. Although with my current schedule at Billy Elliot, I sure would love to have more time in my painting studio. But I know it will always be there and the paints and canvases will patiently wait.

Rick Hilsabeck’s Bio:

Broadway: Billy Elliot: The Musical (Big Davey & understudy for Dad), Chitty Chitty Bang Bang (Caractacus Potts), Three National Company original cast productions under the direction of Harold Prince; The Phantom of the Opera (The Phantom;- Joseph Jefferson Award nom.), Parade (Governor Slaton), Sondheim & Weidman’s, Bounce (Wilson Mizner u/s, original cast recording). Other favorites: Ragtime (Original Chicago cast, Henry Ford), Gypsy (Herbie), Beauty & the Beast, (Lumiere) Swing!, 1940’s Radio Hour, Victor/Victoria (King Marchan), The Dinner Party (Claude), Guys and Dolls (Nathan Detroit), Sweet Charity (Oscar), Crazy For You (Bela), I Love You, You’re Perfect Now Change, Rodeo, Midwives, Putting It Together. 11 years as principal dancer with Hubbard Street Dance Company. Member of Actor’s Equity Association since 1978. Rick is also and accomplished artist. His work is has been exhibited in galleries in the northeast. He has had several shows and continues to paint in his studio in Connecticut, where he resides with his wife, accomplished Broadway actress, Sarah Pfisterer and his two step-daughters, Hannah and Lily.

10 Questions With…Luke Willis

March 22, 2010 by 4dancers

This week we have 10 questions with Luke Willis of San Francisco Ballet….enjoy!

Please tell me your name and your current job title.

Luke Willis, San Francisco Ballet, Corps de Ballet

1. How did you get into ballet and what made you decide to do it for a living?

Well I’ve always danced. I remember when I was a kid my dad was always very proud because I could do any dance moves that the fly girls did when we all watched in living color together. I used to create shows with my little brother and I ended up going to an arts high school for acting. I was at Boston University still studying acting when I fell in love with ballet. I was going to every performance of the Boston Ballet I could and I started taking open adult ballet classes around the city. Eventually I enrolled in a dance minor at my university. I was given a scholarship to spend a summer at Jacob’s Pillow and two weeks later I withdrew from the university and enrolled in classes at Central Pennsylvania Youth Ballet. Now here I am.

2. How did you wind up at San Francisco Ballet?

I sent in a video tape and Helgi asked me to come audition in person. He offered me a job after two days of taking company class.

3. What is it like to dance with the company there?

It’s fantastic. I am living my dream. The hours are long. The emotional and physical stress is difficult. But, in the end I’m doing what I love for three thousand people every night.

4. Can you share an especially great moment from your career thus far?

Hmmm, so many. I have to say I really enjoyed dancing Nicolo Fonte’s Left Unsaid in Gucci suits on an outdoor stage, on an oceanside cliff in Greece. That was special, but there are so many moments like that that I have stored up in my memory bank. Every moment is special when I am dancing.

5. What tips would you give male dancers who are serious about doing this professionally?

The same advice I would give females, work hard, everyday, and stay positive. Also, watch dance as often as possible and form your own opinion of what you think is beautiful and what dance should be.

6. Who are some of your favorite dancers, and why do they appeal to you?

It’s a difficult question because I admire so many other dancers and Im always looking for something to love about each one so that I can incorporate those traits into my own self as a dancer. But, I admire all of my co-workers here in San Francisco. They are all artists with strong commitment and something vital to share with an audience. I also love Katie Dehler of my former company, Aspen Santa Fe Ballet. Her dancing is cathartic for the audience members and her work ethic is incredible.

7. What about favorite ballets? Any that you just love performing or watching?

Anything by Jorma Elo. I love to watch and dance his ballets. They are all seamless journeys and they excite and inspire the dancers and the audience. As for full lengths, I have yet to dance the lead in a full length, but I dream of playing Romeo one day. I will be very good in that role. I’m also very excited about John Nuemeier’s the Little Mermaid which we are dancing this summer. I like dancing my role, but I think I would be fantastic as the Poet which is the character in the ballet that represents Hans Christian Anderson, the author of the fairytale.

8. You write about dance as well–can you tell readers a bit more about that?

I write for two different blogs. I recently started Dancing Raw where I talk about what I eat and how it relates to the demands I make on my body everyday. I also write for the San Francisco Ballet’s blog, called Open Studio 455. That is a more general blog about dancing with San Francisco Ballet. I have entries about what I do on my lay off, or stories about when I was cast in a principal role and only had one week to learn it, etc.

9. Have you ever had an injury that sidelined you? If so, what was it and how did you deal with it?

So many. Mostly I have tendonitis. I rest and find cross training options that help prevent re-injury. Yoga is my favorite cross training for injury prevention.

10. Can you share a bit about any new projects you are working on?

The Little Mermaid is going to be really great. You should come see it.

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