For Mother’s Day, I Introduced My Mom to the Mother-Daughter Team Behind Jazzercise

Long before I was born, my mom was a dancer. Growing up in the ’50s and ’60s, she studied jazz and tap before heading off to college. She soon launched her career in computer programming, and thought her dancing days were behind her—until the ’80s came along.

The community center where she lived, near Louisville, Kentucky, started offering classes in a dance-based fitness craze: Jazzercise. Suddenly, my mom was slipping back into a leotard and pair of tights she’d held onto—remember, this was decades before athleisure—and meeting her girlfriends after work for a jazz dance exercise class. The career woman had reconnected to her dance roots and would continue taking classes for another decade.

But not everyone in those classes had dance experience. In fact, that was the point.

Recently, my mom and I had the Zoom meeting of a lifetime: Jazzercise CEO and founder Judi Sheppard Missett and her daughter, Jazzercise president Shanna Missett Nelson, hopped onto a video call to chat about the company’s humble beginnings and how Jazzercise is still kicking today—51 years later, with 8,500 franchises in 25 countries.

Before Jazzercise was born in 1969, “I was teaching strict jazz dance classes,” says Missett, now 76. She’d spent many years dancing with Gus Giordano in Chicago. “He was a huge mentor.” Despite her professional experience, she wondered why people weren’t sticking with her classes—so she asked them. “They would say, ‘Well, it’s a little too hard,’ and ‘We don’t want to be professional dancers. We just want to look like one.’ ”

Missett transformed her classes. “I decided to turn them away from the mirror and I’d be their mirror,” she says. She simplified the choreography, set it to popular music, and kept a jazz warm-up. Throughout class, she was nothing but encouraging.

When she moved to Southern California, the community embraced her classes. “It was like the body beautiful out here,” she says, and before long, she was teaching 25 to 30 classes per week. Out of necessity, she started training others to help with the teaching load.

udi Sheppard Missett and Shanna Missett Nelson stand onstage and wave.

Judi Sheppard Missett and Shanna Missett Nelson at Jazzercise’s 50th-anniversary celebration last year.
Courtesy Raindrop Marketing

If you’ve seen the viral YouTube compilations of Missett teaching, you know that she’s an extremely animated instructor. (There’s no shortage of phrases like “Come on and shake that cute, little booty of yours” and “Find that boogie body.”) So I asked her if that was integral to training new Jazzercise teachers. “We still want our instructors to be animated and energetic and to motivate,” she says. And, yes, she’s aware that she’s a bit of an internet celebrity. “Those VHS things have gone viral about a thousand times. That’s an example of where we started. We’re still motivational, but in a different way.”

Oddly enough, the U.S. military helped spur the expansion of Jazzercise since many women from San Diego’s military families were Missett’s students-turned-instructors. “Then they were transferred to other parts of the country or other parts of the world, and that’s how it spread nationally and internationally.”

When Jazzercise started, the fitness landscape was barely existent, aside from weight-lifting gyms and a few quickly passing fad workouts. There wasn’t much in the way of big–box gyms and boutique studios, and it was decades before other dance-based workouts like Zumba would hit the scene. Jazzercise filled a void for women. “We sort of pioneered that whole aspect of giving women permission to move, and to feel good about themselves in a physical way,” says Missett.

But Jazzercise has moved far past its days of teased hair and brightly colored leos. Missett says, “We wouldn’t be around for 50 years if we hadn’t changed.” Along the way, it’s diversified its offerings to include classes like strength training, HIIT, kick-boxing, fusion and Dance Mixx, a dance cardio class based off the original Jazzercise workout. As president, Missett’s daughter Shanna Missett Nelson is the 21st-century face of Jazzercise, overseeing programming and its digital arm Jazzercise on Demand, where she’s also an instructor.

About five times a year, the mother-daughter duo gets together to choreograph a new collection of songs that are then distributed to its franchises. They remain the sole choreographers. To carry on the family tradition, Jazzercise will be streaming a free Mother’s Day–themed class on May 10, led by Nelson and her dancer daughters, Skyla and Sienna.

Shanna Missett Nelson and Judi Sheppard Missett stand with knees bent, while Nelson's two teen daughters jump in the air behind them.

Shanna Missett Nelson, president of Jazzercise, Inc. with her mother and Jazzercise founder, Judi Sheppard Missett. Nelson’s daughters, Skyla and Sienna, are competitive dancers.
Courtesy Raindrop Marketing

At its core, Missett says that Jazzercise is still about helping people experience an art form. “We always try to stick close to our dance roots,” she says, recalling how when she started, she got flack from some fellow professional dancers. “You’re bastardizing the art form,” they’d say.

But she saw things differently. “I would tell them: ‘No, I’m teaching people to appreciate the discipline that it takes for a dancer to do what they do. And then when people go to a concert, they’ll be able to really appreciate what they’re seeing because they are experiencing some of that themselves in class,’ ” says Missett. “People know what a chassé and a relevé and all of those things are. And I’m proud of that, because my joy is dancing. I’m proud that I’ve been able to communicate that to a lot of other women.”

Throughout our double-mother-daughter Zoom call, my mom beamed while hearing Missett’s stories, which made me beam. And after all these years, she got the opportunity to thank Missett for creating a space for women to move—and for bringing the joy of dance back into her life.

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How “Penny Dreadful: City of Angels” Got 104 Dancers Swinging For an Epic Dance Scene

At first glance, “Penny Dreadful: City of Angels” does not seem like a show that would employ a choreographer. The SHOWTIME series—a spinoff of supernatural Victorian London thriller “Penny Dreadful”—follows a Latino family through a pre–World War II Los Angeles rife with racial and political tension.

But in episode three, “Wicked Old World,” airing this Sunday, viewers are introduced to dance hall The Crimson Cat in what can best be described as an explosion of movement. Three of the show’s main characters, portrayed by Natalie Dormer, Johnathan Nieves and Sebastian Chacon, ably take to the dance floor in swing-infused choreography that feels both expertly delivered and improvisatory. The way they move tells the viewer a lot about the characters, and the wild, joyous energy of the 104 dancers populating the space is the best introduction the key location—which will reappear throughout the season—could ask for.

The man behind the moves is Irish choreographer Tommy Tonge, who got involved with the original “Penny Dreadful” when it was filming in Dublin. We spoke to Tonge about the process of getting everyone up to tempo.

On the role dance plays in the show

“It’s set in 1938, but it’s almost a commentary on today,” Tonge says. “While the previous show dealt with actual monsters, this show deals with the monster within—there’s a lot of the darkness in human nature, and what people are capable of, given the wrong kind of power. So the role that dance plays in this show is lightness, joy, celebration, in testing, bleak times. It is a celebration of life.”


“It speaks to the period, too,” he adds. “It was a social event on the calendar. Either you went to the movies or the dance hall. On the dance floor is where people connected.”

A crowd of dancers dressed in suits and dresses suitable for 1930s and '40s America improvise on the dance floor, a brass band just visible along the back wall.
104 dancers performed in this scene at The Crimson Cat.

Justin Lubin, Courtesy SHOWTIME

Getting the period right

Tonge started by researching the history of Los Angeles in the 1930s before diving more specifically into the development of swing dance. He also took a crash course in various Latin dance styles. “It’s predominately a Latino community that comes to The Crimson Cat. I wanted to invest in really learning the disciplines and the different rhythms.”

One character’s storyline led to a particularly influential piece of history. “One of the sons, Mateo, feels disenfranchised and is lured in by the glamour of the Pachuco culture—the beautiful clothes, the big zoot suits,” Tonge says. “I wanted their movement to feel earthy, grounded, rooted; there was always a masculinity that ran through it. If you look at how a lot of Latin dances have evolved to today, you really accent the hips and are up on your toes, and it’s very articulated. But it derives from early Latin dances that are into the floor, heels lowered, the arms are athletic, loose—nothing too sharp.”

But the movement style that appears in the show has a decidedly contemporary flavor. “We decided to take a little artistic license and stretch things creatively,” he says. “I wanted it to feel like you couldn’t identify where swing, Lindy, Pachuco, mambo, other Latin dance styles began or ended. It has heavy influences, but it’s a little more current in the sound, and so the movement had to reflect that.”

“Out in the world, these characters might have been poor, segregated, disrespected, disenfranchised, but in here, this is a safe space, ” he adds. “You can forget about all that, you can just dance and connect with people from your culture. I approached the movement as similar to that—it didn’t feel so restricted, different ethnicities and styles went into a big melting pot.”

Creating to bespoke music

Usually when working in film or television, a choreographer will be handed a piece of music to work with—or even just given a length of time and the type of genre or feeling the production is looking for, with the music not composed or added until post-production.

But with “City of Angels,” Tonge says, “I was in the recording studio when it was being recorded.” The music was specifically arranged for the dance. “To be in there, on the ground level building it from the bottom up was really amazing.”

Tommy Tonge, dressed in a flannel shirt and Converse sneakers, walks around Natalie Dormer and Johnathan Nieves, both dressed in period-appropriate suits, as they clasp hands mid-swing. A camera is visible to the left, and extras in similar attire look on.
Tommy Tonge looks on as Natalie Dormer and Johnathan Nieves rehearse between takes.

Justin Lubin, Courtesy SHOWTIME

Working with actors—plus 104 dancers

Tonge worked with Sebastian Chacon, the actor who plays Fly Rico, three times a week for six weeks before they began filming his dance sequences. “I took the approach of, It’s not enough for him to pretend to be the best dancer in The Crimson Cat,” Tonge says. “He had to be the best dancer in The Crimson Cat.” Johnathan Nieves, who plays Mateo, had a similar training schedule. “The actors were all so engaged. They took it seriously and invested so much into it.”

Meanwhile, Tonge was also choreographing for the 104 dance extras he’d personally auditioned for the show. He had one week with a “skeleton crew” of 10 dancers to workshop his ideas, during which he also started getting the actors used to having more bodies moving around them. After that, he had one week with the full cast of dancers—though they were divided into groups and came in on different days to keep things manageable—before everyone came together for a full day of camera rehearsal.

“All the departments came together, and the crew came in and mapped it out so everyone could see what we were getting ourselves in for,” he laughs. They shot the sequence over three days. Because of the amount of prep work they’d done (“The movement went through a very specific approval process with the producers,” Tonge says), very little, if anything, had to be tweaked by the time they got to shooting. “It was big and ambitious, and there was a lot at stake, but there was a calm about it because of the preparation.”

“That was the most challenging, logistically, but it’s also the most rewarding,” he says, “because you get to look at it and say, Okay, it works! I hope…”

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Disney Junior’s “Mira, Royal Detective” Brings Indian Dance Styles to a Global Audience

The work of Bollywood choreographer Nakul Dev Mahajan has appeared everywhere from “So You Think You Can Dance” to a White House Diwali celebration with Michelle Obama to the 2014 Miss America pageant. But despite the variety of his resumé, Mahajan’s latest gig marks a first for him: creating movement for an animated series.

The new children’s show “Mira, Royal Detective” follows a spirited Indian girl who solves mysteries. Along the way, each episode incorporates authentic Indian music and dance. The series premieres in the U.S. on March 20, on Disney Junior and the Disney Channel, before being rolled out to an estimated 160 countries on Disney’s global platforms.

We caught up with Mahajan to chat about translating his choreography into animations for the masses.

The Creative Process


“It starts off with me getting the script and the music and having a few phone call meetings with the writers, the executive producers and the brilliant team behind this show from Wild Canary and Disney Junior.

“Then I start the process of creating what the narrative is because Bollywood is a storytelling form of dance. I choreograph the piece, and videotape myself and my assistants, and send the videos over to their team. That’s when the process becomes more magical, when the artists take you and your body and they create it into this amazing animatic.”

Getting the Details Right

“Bollywood movement can be very stylistic. These [animation] artists are not professional dancers, so sometimes it’s difficult to absolutely understand how my body moves. With my videos, I am giving a step-by-step tutelage of the movement.

“They’re so meticulous about getting it right, so I get multiple versions until the final product is ready. This is a cultural form that’s going to be airing across many countries, so we need to make sure that this is right and not just make a cookie-cutter version of Bollywood, which quite often happens.

“What’s also wonderful is that I had the opportunity to teach many of the artists a little workshop—and that is very unheard of. No one’s a Bollywood dancer, but the team was so interested. We got a few people moving and dancing, just for them to really feel it.”

Nakul Dev Mahajan and Khushy Niazi in the studio
Courtesy Disney Junior

Not Just Bollywood

“India has so many different styles of dance. And what people sometimes don’t realize is that Bollywood is a fusion form, taking from the many styles of dance in India but also from around the world. What ‘Mira, Royal Detective’ has done is not just celebrate Bollywood and the subgenres of what Bollywood is today—because the style has evolved so much—but there are episodes that feature real, authentic styles of Indian dance from different regions.

“There’ll be a bhangra number, from the state of Punjab, which I am just all over ’cause it’s so well done. There is a folk form called ghoomar, which is from the state of Rajasthan, that we’ll be seeing as well. And then we’ll be seeing Bollywood hip hop, which is very, very popular right now.”

Why the World Needs Bollywood


“What Bollywood, for me, brings is a sense of celebration. Generally speaking, it is a very happy form of dance. Although there is a lot of technique to it, it is something that people can pass on and enjoy. And that’s always been my feedback whenever people have seen Bollywood or my pieces: They’re like, ‘Wow, I just want to jump up and dance.’ To be able to create that on this platform for children and with animation, which resonates on a different level—almost on a magical level—it’s been truly a gift.”

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And the “Dance Spirit” Award for Best Movie Choreography of 2019 Goes To…

Nope, there’s still no Oscar for Best Choreography. So Dance Magazine‘s sister publication created the Dance Spirit award for Best Movie Choreography of 2019. Though we’re big fans of all seven of the nominated choreographers, and think each one deserves to be acknowledged for their contributions to some of our favorite films this year, based on your votes, the winner is…

Sapakie, in a black zip-front shirt and high bun, smiles to the camera with her hands on her hips

Courtesy Johanna Sapakie

Johanna Sapakie for Hustlers! Sapakie, a pole choreographer with extensive training in other dance forms, is the genius behind Jennifer Lopez’s showstopping routines in the film (not to mention J.Lo’s pole work at the Super Bowl halftime show). We can’t wait to see what’s next for this talented artist.

Watch Sapakie’s acceptance speech below!

The post And the “Dance Spirit” Award for Best Movie Choreography of 2019 Goes To… appeared first on Dance Magazine.

Inside Nashville Ballet’s Recent Performance with Maren Morris

Seeing a concert by one of your favorite musicians makes for a memorable experience. But sharing the stage with them while you dance? That hits it out of the park.

Enter Nashville Ballet, which regularly works with Music City stars for its annual Ballet Ball fundraiser. For its 2020 edition, held aptly on Leap Day, company dancers performed alongside country sensation Maren Morris and local indie singer-songwriter Rayland Baxter.

Dance Magazine
spoke with apprentice Kennedy Brown between the final dress rehearsal and showtime, to get the scoop on the whirlwind of a celebrity performance.

The Time Line

Just two weeks out, dancers began working on the Ballet Ball performances with Nashville Ballet resident choreographer Christopher Stuart. They’d just wrapped their Attitude: Other Voices program and were back in the studio after one day off. “This was definitely a shorter turnaround time than our normal performances,” says Brown.

Stuart choreographed to three of Morris’ songs: “The Bones,” for two couples; “Once,” a pas de deux; and “The Middle,” featuring the whole company.

Instead of rehearsing to the radio versions of the songs, Morris’ band recorded “more raw, acoustic versions” of the tracks, says Brown, and sent them over for the company to work with ahead of the live performance.

Rayland Baxter sits on a stool while he sings and plays guitar. To his right are three female dancers in black and a male in black and white, surrounding a woman in a tall, white wig and fancy dress.
Indie rock artist Rayland Baxter perfoms with Nashville Ballet dancers at the Ballet Ball. Dancers, front row, from left: Lydia McRae, Noah Miller; back row, from left: Erin Williams, Emily Ireland-Buczek, Kennedy Brown.

Courtesy Nashville Ballet

The Choreography

Brown was cast in the large ensemble number, “The Middle,” and she describes the choreography as “a little bit jazzy, contemporary and ballet. We’re in our pointe shoes, so still the fluid movement, but there’s a lot of dynamics. And the music is more upbeat.”

“What Maren does with her music is so cool, because it brings the pop and the country together. The fact that we get to do ballet to that is really magical.”

A Surprise Guest

The day before Ballet Ball, Nashville Ballet dancers were scheduled to rehearse with Morris’ band. “We actually didn’t think we were going to get to work with Maren that day, but at the very last second, she walked in,” says Brown. “It was sort of like, ‘Surprise!’ ” Despite only having two rehearsals with the band, Brown says, “with the caliber that they’re at and just how established they are, it’s been a pretty easy-going process.”

Still, it’s hard not to get starstruck backstage. “The little moments that we do interact in the wings, Maren’s been great. She’s such a talented, humble artist,” says Brown. “We’re all very impressed—I was getting emotional in the wings.”

Preshow Rituals

To help quell any nerves before she steps onstage, Brown says, “I always have my Starbucks”—a venti cold brew—”and get in my zone with music.” What’s on her current rotation? “Right now, I have been pumping some Maren Morris. I can’t lie.”

The post Inside Nashville Ballet’s Recent Performance with Maren Morris appeared first on Dance Magazine.

The Well-Read Dancer: PNB Principal Sarah Ricard Orza’s Faves

Between being a Pacific Northwest Ballet principal, a doula and a mom, you’d think Sarah Ricard Orza wouldn’t have spare time to pick up a book. “It’s always something I’m saying I need to make more time for!” she says. “Growing up, we didn’t have a television, so reading was big in our house. Nowadays, I keep whatever book I’m reading in my purse, so when I have a few minutes to spare I can read!” Orza shared what book she’s currently devouring, as well as a childhood fave that now lives on her daughter’s bookshelf.

What are you currently reading?


The Husband’s Secret
by Liane Moriarty, the author behind the HBO series “Big Little Lies.” It’s on loan to me from PNB principal Leta Biasucci. It’s just the right combination of good, solid writing and scandalous content!

What is your go-to read for inspiration?

I don’t really have a “go-to.” I read because it allows you to engage in such a different way than television or films. You get to visualize so much of the story on your own terms. A good book stays with me, becomes part of me. There are so many great literary characters that inspire me. It is the characters in the books I read that often haunt me.

What book have you reread the most?

I have read The Great Gatsby more than any other book—probably five or six times. I just love its clarity of prose.

What book has influenced you most as a dancer?

I was gifted the book A Very Young Dancer when I was probably 6 or 7. It follows a young School of American Ballet student who is picked to play the role of Marie in New York City Ballet’s Nutcracker. I devoured that book. Analyzed each and every picture—from the teenage dancer standing en pointe while talking on a pay phone at Lincoln Center to Patricia McBride’s hair and makeup. I would mimic how the dancers held their hands. Everything was so incredibly beautiful and magical to me. I just knew I wanted to go to SAB. Incredibly, I got to. What a dream it was to have that childhood vision come true. My current director, Peter Boal, is even in the book! It is now on my daughter Lola’s bookshelf.

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These 8 Dance Stars Had That Special Spark When They Were Kids—and We’ve Got the Videos to Prove It

Our favorite dancers didn’t step onstage for the first time as fully formed artists. Like any performer, they dedicated years to their training. But looking back at videos from pro dancers’ tween and teen years, you can see that, even then, they had an undeniable spark—their technique was gaining finesse or their creative gears were beginning to turn or they were able to captivate an audience with their piercing stage presence.

This “special sauce” can be hard to define, but it’s oh-so-enjoyable to study. We dug up footage of eight pros before they made it big.

Michaela DePrince

In this 2009 clip, 13-year-old Michaela DePrince projects confidence and a commanding stage presence in one of ballet’s most challenging variations: the tambourine dance from La Esmeralda. Now, DePrince is a member of Dutch National Ballet, where she’s been a soloist since 2016.

Caleb Teicher

When Caleb Teicher became a YoungArts winner in 2011, he was already incorporating his dry sense of humor into his work. Now, the choreographer, dynamic performer and recent Dance Magazine cover star has racked up commissions from major organizations like New York City Center, La MaMa, The Yard, CUNY Dance Initiative, Jacob’s Pillow and Works & Process at the Guggenheim.

Jim Nowakowski

Yes, even when he was 13, Jim Nowakowski has those no-doubt-I-can-hold-them extensions. Refer to the video for solid examples of sustained développés and penchés. After performing with Houston Ballet and appearing on Season 12 of “So You Think You Can Dance,” he’s currently sharing his talent with audiences at BalletMet.

Isabella Boylston

Now she’s one of the most recognizable names on American Ballet Theatre’s roster. But in 2001, Isabella Boylston was a budding ballerina of just 14, showcasing her technique at Youth America Grand Prix.

Derek Dunn

Though he was still a student in this clip, current Boston Ballet principal Derek Dunn was already a turning whiz. Even at a young age, he was able to balance explosive jumps with landings of incredible control. We’re still dying to know his secrets.

Derek and Julianne Hough and Mark Ballas

Years before their “Dancing with the Stars” fame, siblings Derek and Julianne Hough and Mark Ballas were a tight trio. Check them out in this rehearsal clip choreographed to an instrumental from Chicago. Seems they were made for the camera.

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The Well-Read Dancer: Book Recs From The People Movers’ Kate Ladenheim

The subject matter Kate Ladenheim tackles, not to mention the way she tackles it, is often wildly ambitious—a multipronged series digging into internalized misogyny and the social impact of glass ceilings, for example, or a farcical meditation on what it takes to “make it” as an artist, told largely through social media.

It should come as no surprise that behind these works lies a lot of research, so we decided to ask Ladenheim for her recommended reading. We got a glimpse into her current project, which looks at the relationship between gender and technology, and found out about her fascination with books that push the boundaries of genre.

A woman in a draping black jumpsuit stands on one leg, the same arm raised alongside her head, chin-length hair flying into her eyes.
John Conly, Courtesy Ladenheim

What book has influenced you most as a dance artist?

I read Chance and Circumstance: Twenty Years with Cage and Cunningham (Carolyn Brown’s memoir of her time dancing with the Cunningham company) as a senior in college. I was a pretty big Cunningham fan at the time, and was certain that as soon as I had a company of my own we’d also be touring the U.S. in a Volkswagen bus full of artists and collaborators.

It’s a dream that hasn’t manifested, but also I haven’t entirely let go of… However, it did frame my early years with my company The People Movers: We also started as a collective of eager artists insisting on something different in a multidisciplinary way.

In retrospect, this book taught me a number of other very important things that I wasn’t able to fully appreciate at the time I read it:

  1. Careers in the arts are not short, finite sprints—they are life-long pursuits that necessarily change and evolve.
  2. Things are not usually as great on the inside as they seem on the outside.

What is your favorite book or series from childhood?

His Dark Materials
by Philip Pullman.

How do you find the books you read as research for your works?

They usually come from internet deep dives or recommendations from other artists and collaborators I’m in conversation with.

Right now, I’m reading a lot of academic texts on gender and technology. I am currently the artist in residence at the Robotics, Automation, and Dance (RAD) Lab at the University of Illinois at Urbana-Champaign, working on a piece called Babyface. It’s a performance and installation centering on a femme cyborg who was designed to be perfect. She wears a pair of breath-activated robotic angel wings that represent feminized tropes around innocence, servitude, cuteness and spectacle. They also telegraph her exhaustion and emotional state by being intrinsically linked to her breathing; these wings are the very thing that make her so impressive, and are also a rigid, limiting characterization that become a burden over the course of the performance. The work parallels the ways that women and machines are talked about, treated and—in the case of machines—designed to look and behave.

I’ve taken a deep dive into Donna Haraway’s A Cyborg Manifesto, and many, many projects and publications within Londa Schiebinger’s Gendered Innovations in Science, Health & Medicine, Engineering, and Environment project.

What book have you reread the most?

Neil Gaiman’s Sandman comics.

What have you read most recently?

I just finished two books:

  1. Trick Mirror
    by Jia Tolentino—a selection of essays on internet-age existentialism. I love the way that Tolentino navigates issues of complicity; the way we participate and are forced to participate in the nastier cultural pressures that technology inspires.
  2. In the Dream House
    by Carmen Maria Machado—Machado’s last book of short stories, Her Body and Other Parties, is one of my favorite things I’ve ever read. Her newest release is a harrowing memoir of an abusive queer relationship framed in the metaphor of a haunted house. Each section of this memoir is put through the lens of literary or cultural trope: dream house as bildungsroman, dream house as gothic romance, etc. It is simultaneously a gripping personal story and a larger commentary on the lack of writing and documentation of queer abusive relationships and how power dynamics play out outside of heteronormativity.

These are really different books, but there’s a similarity to both of them around questions of complicity and enabling—what actions are we forced into? What actions can we not opt out of? What parts of our behavior are we uniquely responsible for? Why are these questions so hard to answer?

(Also, I really can’t recommend these books enough.)

In a black and white image, Ladenheim, hair curling wildly around her face, closes her eyes and smiles gently as she brings the fingertips of one hand to her forehead, the others to her chin.
Chelsea Robin Lee, Courtesy Ladenheim

Do you have a favorite genre?

That’s like asking if I have a favorite sibling!

I get pretty excited about books that cross genres or push the boundaries of them (like Machado’s recent memoir).

What’s the book that you keep saying you’ll get around to, but haven’t yet?

Artificial Hells: Participatory Art and the Politics of Spectatorship
by Claire Bishop. I really want to be that person who can eat up critical theory just like a fiction story, but the truth is that I have to coax myself into it. This book addresses the ethical implications of participatory art, and is something I really should dig into.

Maybe this article can be the public accountability I need to get moving on it?

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How Cats Inspired a Generation of Dancers

There are two phases of everyone’s life: before seeing Cats and after seeing Cats. Starting today, with the release of a new film version of Andrew Lloyd Weber’s hit musical, millions of viewers will enter into this second phase of life, and a new generation of people with “Memory” stuck in their head will arise.

But before Taylor Swift was CGI’d into a humanoid singing feline, the musical had, and still has, an unshakable presence within the dance community. Maybe you had a jazz teacher who was in the 1992 national tour, or maybe the best dancer from your hometown studio made it all the way to play Bombalurina on Broadway— without a doubt, if you are a dancer, you are probably less than six degrees from a jellicle cat.

I first saw Cats in the late 90s via a VHS tape of the 1997 filmed version of the stage production. The musical immediately mesmerized my little dancer eyes. Yes, the songs were catchy, but my attention was completely consumed by the dancing.

At one point, the synthesized score slows down and Victoria the White Cat comes center stage and does the most beautiful développé à la seconde I had ever seen in my 6 years of existence. She slides into a split, her hands clawing through the air with a port de bras worthy of, well, a cat.

The unitard-clad dancers of Cats could do anything—pirouettes, acrobatics, tap dancing—and they could do it all at the same time and with face paint. They were strong and precise and Gillian Lynne’s choreography was so different from anything I had done in my ballet classes. It opened my eyes to a completely new, Nutcracker-less world of dance.

It wasn’t the first time I had seen professional dancing, but it was the first time it looked so fun.

Seeing Cats was also, for many of us, the first time we understood that we could point our toes for a living. There were people on my TV screen doing promenades in attitude, and being on TV means being famous. I could do a promenade! And if I worked really hard maybe I could do a promenade on TV, too.

Cats
is a beacon of light—a glimmer of what all your training can lead to. Between the national and international tours, the West End, Broadway, and the VHS tape, the accessibility and popularity of the dance-based musical was able to inspire and influence a generation of bunheads and jazzerinas, whether you lived in New York City or Nowheresville, USA.

There’s a lot that doesn’t make sense about Cats; the word “jellicle” will never really mean anything and what actually is the Heavyside Layer? But it’s undeniable that the musical has played a formative role in many dancers’ lives by providing an introduction to high quality, professional dancing. Cats created the roles you could dream about one day dancing.

I never got to be in a production of Cats (don’t tell my younger self, she’d be devastated), but I did finally get to see it live, on Broadway, in 2014. A cat ran through the audience and stretched its paw directly into my face and, reader, I cried.

I will always love Cats and be grateful to it for bringing dance to such a wide audience. And I hope, with all my heart, that this new film version, which stars Royal Ballet principal Francesca Hayward and features choreography by Andy Blankenbuehler, will be taken in and beloved by some young dancer who leaves the theater wanting to one day do pas de chats as perfect as Macavity the Mystery Cat or a développé as high as Victoria the White Cat.

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A New Musical Netflix Series Starring Robbie Fairchild and Jenna Dewan Drops Tomorrow

A new show drops on Netflix tomorrow, and it’s a dancer’s dream come true. (No, it’s not “Flirty Dancing.”)

“Soundtrack,” an episodic musical show from the creator of “Smash” and “Gossip Girl,” has lots of dancing—but not one note of singing. That’s right—when the characters on “Soundtrack” have a musical number, they lip-sync to the original artist’s vocals.

Yes, it sounds incredibly cheesy. But there is some serious dance talent attached, including Robbie Fairchild, choreographer James Alsop, and Jenna Dewan, one of the show’s stars. Plus, showrunner Joshua Safran has a compelling reason for choosing lip-syncing: “The characters are using songs they know to express themselves, like we all sing along and think about songs in our heads,” Safran told Playbill. “When you do that, you’re hearing that artist, not your own voice.”

The show includes songs by Kelly Clarkson, Ray Charles, The Talking Heads and more, and each one was hand-picked to represent the character, what their taste in music might be, and what they’re going through at that moment. In the age of the jukebox musical, it’s refreshing to hear that Safran shaped the episodes based on the songs he was including, rather than just sticking songs into slots where they may not be completely relevant or necessary.

A young man and woman dancing in an empty parking lot. They each have one leg crossed in front of the other, with their hands out to their sides. They look at each other and smile. She wears a long white belted dress, he wears jeans and a grey t shirt.
Paul James and Callie Hernandez

Parrish Lewis/Netflix

“Soundtrack” sounds like a unique opportunity for dancers who don’t sing. But it also sounds like it…actually might be good? The jury is out until tomorrow, when the full series drops on Netflix.

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