cara marie gary

Battling Injury As A Dancer…

February 14, 2017 by 4dancers

Joffrey dancers — *Cara Marie Gary with partners Fernando Duarte and Edson Barbosa. Photo credit: Cheryl Mann.*

by Cara Marie Gary

My career as a professional dancer has been an incredible journey–and it has taught me many life lessons about discipline, commitment, sacrifice, and patience. Dance has always been my outlet for creativity and expression. I’ve gathered a variety of special moments throughout the years. For example, I still remember the exhilarating feeling I had after nailing my first challenging sequence of fouettes on stage. I’ve been blessed to travel and perform in incredible theaters all over the world, one of my favorite moments was performing at the Kennedy Center as Clara in Robert Joffrey’s The Nutcracker. I’ve also had stressful hair situations; in Christopher Wheeldon’s rendition of Swan Lake it was choreographed for me to entered the stage with my hair completely down and in a few seconds style it into a french twist that had to last throughout Four Little Swans and the entire ballet! I’ve had crazy things happen at gala performances like music stopping in the middle of a pas de deux and having to exit the stage and start completely over. As a dancer, you learn to be “ready for anything” and to be able to improvise if something doesn’t go exactly the way you rehearsed it.

However, what I wasn’t prepared for was an injury. [Read more…]

Dancing Christopher Wheeldon’s Nutcracker

December 23, 2016 by 4dancers

Joffrey's Nutcracker — **Yoshihisa Arai and Cara Marie Gary dance in Christopher Wheeldon’s *Nutcracker.* Photo by Cheryl Mann**

by Cara Marie Gary

I vividly remember the day Christopher Wheeldon came into the studio to start creating his world premiere of The Nutcracker. It was early August, and with enthusiasm, he said, “let’s crack some nuts!”. We instantly dove into the snow scene… I, however, might have dove a little too far. On that day I was attempting my first entrance as a snow soloist, where Christopher wanted the men to explode onstage with handfuls of snow and a few seconds later have the women burst from the wings and land horizontally in their arms. I was really excited to try my first step in the new production: run, run, run, jump…and that’s when I realized I had dove a little too far, bypassed my partner’s grip and literally found myself with my hands on the ground, my face inches from the floor. There were a few loud gasps and I could tell this definitely wasn’t the exact movement Christopher was hoping for, so without hesitating we gave it another try. This is not a moment I want to dwell on, but I tell this anecdote to portray how Christopher is a choreographer that inspires you to push your limits and go beyond your boundaries. His creativity and unwavering energy constantly drives you to try new things. I remember him once saying in rehearsal, “Let’s not think of it as fast, let’s think of it as exciting!” The process of creating a new Nutcracker has been just that – fast and exciting. It has also been an experience I will treasure forever.

**Group photo after Opening night in Chicago Photo Credit: Michael Smith**

Just as Robert Joffrey’s 1987 version of The Nutcracker debuted at the Hancher Auditorium in Iowa City, Iowa, our first preview performances of the Christopher Wheeldon’s production took place at the Hancher, thanks to its longstanding partnership with Joffrey. I found this experience in Iowa City before the ballet’s world premiere in Chicago to be a tribute to the previous generation’s iconic rendition and also a memorable way to introduce the new generation’s reinterpretation.

What makes this Nutcracker unique from other traditional versions is that there is a new setting and storyline unique to our city and its history. The story takes place in Chicago on the Christmas Eve of 1892, before the grand opening of the World’s Columbian Exposition. Now focusing on an immigrant worker’s family instead of a wealthy Victorian family, the audience follows the story of Marie, her younger brother, and their widowed mother (who is revealed to be the sculptress for the fair).

I’m honored to be a member of the original cast of Christopher Wheeldon’s Nutcracker. Not only did I get to work with one of the best choreographers of this generation and 2015 Tony Award® Winner for Best Choreography for “An American in Paris”, but getting to meet and work closely with his creative team has been incredible! I’m forever grateful for the encouragement, corrections, and insight I gained from working with Christopher’s assistant, Jackie Barrett. She has a keen eye for details and kept the company on their toes–as she wouldn’t let a single step go unnoticed. The award-winning team also included author and illustrator Brian Selznick, Tony Award-nominated set and costume designer Julian Crouch, Obie and Drama Desk award-winning puppeteer and MacArthur Fellowship recipient Basil Twist, six-time Tony Award-winning lighting designer Natasha Katz, and Tony Award®-winning projection designer Ben Pearcy.

**Cara as Marie with Yoshihisa Arai and Fabrice Calmels. Photo by Cheryl Mann**

Knowing the experience and achievements of all of these people was a bit daunting, but working with them and learning from their expertise was a fascinating part of this creative process. Early on, the company worked directly with Basil Twist. We had multiple rehearsals where we’d discuss puppetry ideas that might be incorporated into the production, and he taught us techniques for working with silks to create movements that had life to them. We spent time learning how to maneuver puppet rats and create shadow effects, and in the beginning some of the puppetry was very raw and the techniques seemed a bit unclear. As dancers it was somewhat challenging to grasp how the puppetry would turn out, but Basil blew our minds with the final products; they were so realistic and created a powerful and dramatic effect!

During the creative process, it seemed that Christopher never slowed down or seemed tired. As a choreographer in high demand traveling back and forth to Chicago, he’d often step off an airplane, jump in a taxi, and walk straight into Joffrey Tower, ready to start rehearsals with enthusiasm. True to form, when he fell into the orchestra pit and broke his ankle during our technical rehearsals in Iowa, Christopher went to the hospital, got a cast boot, and came back to finish the rehearsal!

Working with someone like him is also inspiring because of the way he relates to his dancers – even the many children that are included in this production. Without ever raising his voice, his energetic presence was enough to keep the attention of the children, and he wasn’t forced to diminish the quality of his style; instead, he expressed how he wanted the steps to be executed in creative ways that children could comprehend.

Snow scene, Nutcracker — **Snow Soloist, Cara Marie Gary (right), with Joffrey dancers. Photo by Cheryl Mann**

With the company dancers, when tensions got high, Christopher told us to have confidence in ourselves and remember that with anything new it takes time to refine the details. He reminded us that it was a process and that we didn’t need to pressure ourselves to execute the steps perfectly on the first try. Although it sometimes felt like chaos, he assured us that everything would come together in the end, and it did!

I really appreciated how Christopher led us to approach our movement with layers and texture. He challenged each person to develop their own characters and come up with an inner dialogue – to find a personal story, believe it, and use it to add nuances to the choreography. I was very fortunate to be cast to learn the role of Marie, and in one of our final rehearsals, Christopher reminded me that Marie has a journey in this ballet. He told me the audience must follow her story and see it completed. As Marie, I not only physically placed myself in the scenes Christopher and his team developed, but I tried to incorporate myself emotionally in those scenes as well.

This was a fun process, because Marie has a younger brother, Franz, and in real life I have a younger brother, Coleman. He’s not so little anymore and doesn’t need my assistance with much, but I would do anything to protect him. Throughout the ballet I get to channel different emotions in this relationship – I’m protective when the teenage boys pick on him, sad when he breaks my Nutcracker, nurturing when I tuck him into bed, frightened when rats drag him away from me, terrified when the Rat Catcher threatens to kill him, and desperate when he’s tied up and held captive.

A deeper element that I was able to quickly relate to was the void in Marie’s family situation, as her mother is a widow taking care of her two children. In the ballet, Marie is surrounded by immigrant families with both parents and her dream is to have a complete family again. Marie’s imagination is piqued when the Impresario arrives on Christmas Eve and she witnesses him interacting with her mother – she finds herself hoping that one day they might end up together and fulfill that longing for wholeness.

Similarly, my father recently became a widower after my mother passed away due to ovarian cancer, and my dad, my brother, and I are learning how to do life in a different way, which is incredibly hard. I have a constant yearning to have my mother back in our lives, and the void she left feels irreplaceable. Although my personal experience is not exactly the same as Marie’s, many of these emotions naturally transfer to the way I portray her story and her feelings along the journey that she takes.

**Photo of myself, Christopher Wheeldon, and Yoshihisa Arai Photo Credit: Alberto Velazquez**

Of course, it wouldn’t be The Nutcracker without the title character! This is an element that has been kept close to many traditional versions – Marie’s Nutcracker doll given to her by the Impresario is transformed into a Prince named Peter, danced by my wonderful partner and friend, Yoshihisa Arai. Yoshi and I joined Joffrey Ballet at the same time in 2012 and this is our first full length ballet together as partners. He has been so encouraging throughout this process and I always have a sense of calmness when we dance together – a great asset when approaching a new character and dancing in a challenging production.

From the first days of my “crash course” in the snow scene to our currently full schedule of performances each night in Chicago’s historic Auditorium Theatre, I’m grateful to have had the opportunity to work with a world renowned choreographer and a powerful creative team on this fascinating world premiere. I’m also thankful for Joffrey Ballet’s artistic staff and my fellow coworkers who have worked diligently during this process, which has taken strong commitment, teamwork, responsibility, and determination from everyone involved. In the end, we know that our art form creates magic onstage for our audience members, and we look forward to sharing the magical experience of Christopher Wheeldon’s Nutcracker with people for many years to come.

Joffrey performs The Nutcracker through December 30th, 2016 at Chicago’s Auditorium Theatre.

Contributor Cara Marie Gary is a native of Belton, South Carolina. She joined The Joffrey Ballet in July 2012. Prior to joining The Joffrey Ballet, Ms. Gary danced with American Ballet Theatre’s ABTII and was an apprentice with Orlando Ballet. Ms. Gary began her formal ballet training at International Ballet Academy in Greer, South Carolina, under Hennadii Bespechnyi and Vlada Kvsselova. Ms. Gary received additional training at summer intensives with American Ballet Theatre, Brianskv Saratoga Ballet Center, Ukrainian Academy of Dance South Carolina Governors School, Ballet Spartanburg, and Chautauqua Institution. Ms. Gary graduated with honors from Belton-Honea Path High School and is currently pursuing a Business Administration degree online through North Greenville University.

In 2010, Ms. Gary was a competitor in the IX USA International Ballet Competition held in Jackson, Mississippi. She was a top twelve finalist in the Youth America Grand Prix National Finals in 2008 and 2009. She also received the overall Grand Prix Award in the 2009 YAGP regional semi-finals. In 2006, she was awarded a Diploma of Laureate at the VI Serge Lifar International Ballet Competition held in Kiev, Ukraine.

Ms. Gary has had the opportunity to tour throughout the United States and Europe. Ms. Gary has performed the title role in classical ballets such as The Nutcracker, La Sylphide, Don Quixote, Paquita, Markitanka pas de six, and Coppelia. Her repertoire with ABT II includes roles in the Flame of Paris pas de deux, Jerome Robbins’ Interplay, Antony Tudor’s Continuo, George Balanchine’s Allegro Brillante and Stars and Stripes pas de deux, Jessica Lang’s Vivace Motifs, Roger Vanfleteren’s Pavlovsk, Jodi Gate’s A Taste of Sweet Velvet, Aszure Barton’s Barbara, and Edward Liang’s Ballo Per Sei. Ms. Gary has performed roles in new choreography by Robert Hill. Her repertoire with Orlando Ballet also consists of Sleeping Beauty, The Nutcracker, and Swan Lake.

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Dancers: Cross-Training With Yoga

October 11, 2016 by 4dancers

*Cara Marie Gary performs with the Joffrey in Romeo & Juliet. Photo by Cheryl Mann.*

by Cara Marie Gary

As a dancer with The Joffrey Ballet I spend countless hours in the studio rehearsing and preparing for upcoming productions. Often times I will be required to rehearse multiple ballets at the same time. Our company returned from summer break in late July and in the past three months we’ve already worked on seven different ballets! We’ve performed at the Chicago Dancing Festival and Dance for Life performances with Alexander Ekman’s Episode 31, Lar Lubovitch’s Othello pas de deux, Christopher Wheeldon’s After The Rain pas de deux, and Gerald Arpino’s Round of Angels. We’ve learned Myles Thatcher’s Body of Your Dreams, which is a ballet that we won’t perform until the spring. We began “cracking nuts” early in August as Christopher Wheeldon started choreographing his world premiere of The Nutcracker. However, in the past two weeks we’ve taken a pause from rehearsing multiple ballets to focus on our fall production of Krzysztof Pastor’s Romeo & Juliet. [Read more…]

My Top 3 Challenges As A Dancer

April 6, 2016 by 4dancers

Joffrey Ballet dancer Cara Marie Gary in Jiří Kylián's Forgotten Land. — ***Joffrey Ballet dancer Cara Marie Gary in Jiří Kylián’s Forgotten Land. Photo by Cheryl Mann.***

by Cara Marie Gary

As a young ballet student or aspiring professional dancer, some big challenges in life usually center around getting into a top summer program, performing well in a competition, or landing that first contract with a professional company. These were certainly part of my experience, but now as a professional dancer with some seasoning and experience, the challenges that I face on a daily basis are different, but just as important.

Pain Management

One of the top challenges in my life as a dancer is dealing with and learning to appropriately manage pain. Fortunately, I haven’t had any major injuries while dancing professionally, but aches in my body are a daily struggle, as an average five-day rehearsal week consists of approximately 38 hours of dancing. Each morning I wake up refreshed, but often with minor aches and pains, and over the years, I’ve found some helpful remedies for this challenge. I often consult with my physical therapists about the pain I’m experiencing and they always offer specific strengthening exercises for weak areas that could be linked to the source of pain.

It’s simply part of my daily routine for my joints to snap, crackle, and pop, especially in the morning, and even though I’m used to these noises, I try to make monthly appointments with a chiropractor for proper treatment.  I’ve also learned to explore and experiment with alternative techniques and have discovered a lot about what works for my body. For example, I tend to hold a lot of tension and stress in my upper back and neck. I’ve found that the best remedy for this area of pain is a technique called “cupping”. It’s an ancient form of alternative medicine that uses cups and heat to create a suction that pulls the fascia tissue towards the cup, ultimately mobilizing blood flow to promote healing. The cups are normally left on for about fifteen minutes, and once they are removed I feel an immediate release of tension and have a noticeable increased range of motion in my upper back and neck areas. This technique creates dark circles where the cups where placed, and often times my co-workers joke that it looks like I got attacked by an octopus, but I don’t mind, because cupping works miracles for me!

**Myself after cupping. (Photo courtesy of Cara Marie Gary.)**

When my calves or hamstrings are hurting, I’ve undergone a technique called “dry needling”. This is a process similar to acupuncture, but a little more invasive, because the needle is inserted into the skin and muscle. Sometimes, the sensation of the needle hitting a trigger point makes me almost jump off the table, but the certified physical therapists are quick and efficient. At times I’ll be a little sore the next day, but the overall result pays off with lasting relief in the areas that have been targeted.

My favorite treatment, of course, is a massage – but not one of those gentle, relaxing, soft-music-playing-in-the-background kinds. I find that deep tissue massage is the best to help release knots and improve circulation. In contrast, my least favorite treatment is the ice bucket. Although it is effective, I tend to hold off on using this treatment until I can no longer stuff my swollen feet into my pointe shoes (Nutcracker season is often the culprit). Everyone has a different pain tolerance, but it’s important to not just push through the pain. Instead of continuing to torture my body, I’ve learned how important it is to deal with pain intentionally, and to find specific and effective ways to care for myself.

Personal vs Professional Life

Another challenge I face as a dancer is separating my work from my personal life. Although I’m passionate about dancing, I’m normally in the studio eight hours a day, five days a week, and I feel it’s important to focus on other interests and activities once work is completed for the day. To tackle this challenge, my roommate (also a dancer with The Joffrey Ballet) and I came up with some “house rules”.

First, we are intentional about limiting talk about work when we’re at home, and we also make sure to leave “work duties” at work – that means no bringing pointe shoes home to sew! Instead, we focus our attention on other aspects of our lives. For example, we try new recipes and often cook together, and instead of watching dance-related videos, we might turn to Netflix for a less-connected escape from reality.

Amber Neumann (my roommate) and I having brunch. Photo courtesy of Cara Marie Gary. — ***Amber Neumann (my roommate) and I having brunch. (Photo courtesy of Cara Marie Gary.)***

We both enjoy art in other forms and have unashamedly bought into the growing phenomenon of the therapeutic adult coloring books, and I sometimes paint while my roommate designs and sews clothing for herself and others. I also enjoy crocheting, (I usually have a project or two going at a time), and on weekends I like to add brunch or a Bikram yoga class to the mix. As dancers, it’s important to recognize that we work in a very unique artistic bubble, and I’ve found that it’s healthy (and fun!) to develop boundaries and a balance between my work and my personal life.

Adapting To Change

A final challenge I face as a dancer is learning to adapt to change. I’ve found that it’s necessary to be versatile in all aspects of what my job demands. The beautiful thing about our art form is that it is constantly evolving, and dancers often have to learn to adapt to new choreography and styles as ballet and dance continue to push boundaries. It’s important to not be timid and learn to be bold when exploring new styles of movement. l try to watch and learn from fellow artists and apply corrections from ballet masters and choreographers, and I’ve found it always goes a long way to be polite and respectful to the people surrounding you as you learn together.

Dancers also have to adapt to occasional disappointments at work. Like any other job, there will be good days and bad days. Sometimes you show up to work and feel great when you’re completely on your leg and feel like you’ve had some really productive rehearsals or successful performances. Other days you might deal with situations like dealing with a painful ache, experiencing unwanted casting changes, or not seeing your name next to a desired role. I think it’s important to avoid focusing on the drama or negative feelings on those bad days. Instead, it’s important to open up your horizons to inspiration not only in the workplace, but also outside of that “ballet bubble”. That could be through studying something new, getting involved in organizations about an issue or community that matters to you, or simply getting out in your city and appreciating what makes the world around you unique.

As humans, we’re often creatures of habit and resist change, but I’ve come to realize that change is the only constant in life. Accepting this fact and learning to move forward has been an ongoing task, and I find that I deal with this challenge most successfully by choosing to adapt and learn from each experience.

Though the challenges that I now face as a professional dancer are different than my days as a young student, pursuing this career has certainly always kept me pushing myself to learn and improve in new settings and environments. Since the opportunity to dance as a career has become my daily reality, I’ve learned that challenges will always keep coming, but life is too short to not enjoy each moment. I challenge aspiring dancers to not be discouraged by the challenges they face, but to find something positive in every day, and use that determined perspective to keep moving toward their goals.

Lessons Beyond The Barre

October 13, 2015 by 4dancers

by Cara Marie Gary

In prepping for the theater today, I was reminded of a beloved teacher and started thinking of the insight she’s given me over the years. My earliest memory of her advice was when I was fourteen years old, competing in the VI Serge Lifar International Ballet Competition. It was the first time I had left the United States and traveled without my parents. I was immersed into a new culture and language while being severely jet-lagged from a lengthy flight to Kiev, Ukraine. But most importantly, this was the first time I learned an important lesson from someone I cherish dearly in the dance world. [Read more…]

Pain Management

Personal vs Professional Life

Adapting To Change

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