Oh, How Much Things Can Change…
Almost one year. Yes, I know…I have been beyond neglectful. However, I was extraordinarily well brought up, and I believe the honoured mantra that if you don’t have anything nice to say, than don’t say anything at all. I submit this mantra as my reason for having been missing in action since the summer/fall of last year.
Needless to say, life has done a little boogie and manage to rearrange itself in a very different way than I was talking about it a year ago. I might as well get it out-of-the-way; I have about 40 days left as a dancer with Les Ballets de Monte-Carlo. Remember? The place that I said that I was really and truly happy with, and the family that I said I had found? Believe me, I’m very much aware of how ridiculous this whole thing sounds to any observer, but believe me when I say that I know beyond the shadow of a doubt that this is the way things are supposed to happen.
I suppose you must be wondering what on Earth could have managed to pull me away from the job that I had gushed about for two years. To be frank, it is nothing new, and as a matter of fact, if I look back on my child and teenage years, this should really have come as no surprise to me: the place where my love affair with lights, costumes, and applause began: Musical Theatre.
I was a child of the theatre from a very early age, as a matter of fact, my first stage appearance was at the age of three in a production of “Annie” with the Nova Scotia Drama League. I mention this particular production not only because it was my first time on stage, but there is a story surrounding the show that has become a staple family legend for the Parsons’. It is also a moment that I distinctly remember and can still see it through my three-year old eyes as if it happened yesterday. At the end of the show, the cast made their curtain calls, as happens the world over. We come on, bow, audience applauds, we leave, band plays exit music. The formula is unchanged no matter what show you are attending the world over. One evening however, one little boy, dressed as a homeless apple seller, was so busy looking out at the audience and trying to find his babysitter that he knew was supposed to be watching that night, that he just stood on the edge of the stage. Alone. Lights going down, the rest of the cast exiting. Still alone. Finally, someone calls him from the wings, and he snaps out of his trance and quickly runs off, realizing that he has been standing there all alone for some time.
In case you couldn’t guess by my ever-so-subtle storytelling…that little boy was me. I only appeared in two scenes in the whole show, and was basically the theatrical equivalent of an extra in a film…However I did insist on singing along to “We ‘d Like To Thank You,” even though nobody told me to. Perhaps the word singing is a bit strong, but you can still see me mouthing along when you watch the video. Though, why a three-year old found a sarcastically witty song about President Hoover sung by a bunch of homeless people entertaining, I have no idea. After that, I really got into the musical theatre, and that was actually the reason that I even started taking ballet in the first place: after having to dance while playing a munchkin in The Wizard of Oz. For several years, I went to summer theatre courses, did children’s production (including a star turn as Wilbur, the pig in Charlotte’s Web!), and took regular singing lessons; I even appeared as the lead in the operetta “Amahl and the Night Visitors”!
Even while I was away at ballet school, one of my most enjoyable times of the year was every February when we would produce “Music Night.” Music Night is basically a two-hour show put together by the music teacher at the school (which at the time had a fantastic music program). The school really believed that a proper music education was incredibly important to ballet dancers, even though I know there are many dancers who don’t agree with needing to understand music theory, and they couldn’t be more wrong (or aggravating to me: you cannot put the “1” wherever you want!!) But I digress. It was a fully staged evening of musical numbers centered around a theme: we had “Tin Pan Alley” one year, to “Global Rhythm” another. The big kicker though was the year I graduated and we did the most broad theme ever “Bound for Broadway”, which was basically just a no holds barred celebration of Broadway music, with properly choreographed numbers by a teacher at the school who had actually been in some of the shows we excerpted from!
Without fail, every time that Music Night came around, I would have a mini career crisis (can you even really have those at the age of 16?), and I would totally fall to pieces in my head, thinking that perhaps I was doing the wrong thing in pursuing ballet , and perhaps that I should have just stuck with what I had began with. These periods always passed, of course. The seed laid dormant in the back of my brain however, and now it has taken root, and spread like Ivy on an old brick building. So much so in fact, that it has permeated inside and out, totally taking over.
I had one of my mini career crises again this fall. Except this time it wasn’t so mini…and it wouldn’t go away either. It remained for a month, three months, six months, with no redeeming moments in between. It became clear to me that no pesticide would clear it from the building; it wanted in, and in it was going to stay. So in February, I handed in my notice, and started to make plans. London had been calling to me ever since I first visited when I was ten years old. I even auditioned for the English National Ballet twice because I was so determined that I wanted to live in London! Now I am happy to say that in just a few short months, the plan panned out. So, visa in hand, I will be packing up my life and heading to London in about 40 days. The future is unknown, but I know that I’m going to have a damn good time getting to know it!
What do British people do? Surely not Double Kiss…How about Tally-ho? 🙂
Back In the Swing of Things…Well, perhaps not quite!
The beginning of a new season at Les Ballets de Monte Carlo means several things; new and exciting places to tour to, extraordinarily hot temperatures in the studios, and pain. Lots of it. For most ballet companies, the start of a new season usually means having a little bit of time to slowly get your body back into working, dancing, order by having some time to start slowly, usually by learning new steps in a new ballet that is unfamiliar to most, if not all of the dancers in the company. For us however, we tend to start the season with one of our “rep ballets” of Jean-Christophe Maillot’s that we perform every year, and it known inside out and backwards by everyone in the company, save for the new dancers who are just joining us for the new season. This usually means that the beginning of a new season for us tends to feel like we’re getting “shot out of a cannon”!
Getting your body back in shape is not an easy thing to do after a holiday. The experience is different for each dancer, taking into account what their body can tolerate. For me, there is a fine line between how much time I can safely take off without having the return be too catastrophic, and yet also I know that my body needs several weeks at the end of the season of doing nothing. When I say nothing I mean I won’t even go into a gym and lift weights. I will just rest, relax, and eat. Which unfortunately I know that I will pay for later once I do in fact get back to work, but I just have to keep telling myself that my body will thank me later having let it rest. This period normally lasts about two weeks, and anything beyond that, I start to feel restless, and my brain also starts to say things like “you have a show only ten days after you get back to work, shouldn’t you be doing something” However, I’m also on vacation, and I want to still be free enough to have a vacation. What I will usually do is just stretch for the first few days, and nothing else. Then, I might add some easy exercises at the “barre”, slowly building up by adding one exercise a day. I might throw in some push ups or a few weights to do something for my upper body, so that when I come to lift a woman for the first time after vacation, it doesn’t feel like a totally foreign concept to me again! During the last few days of my vacation before I come back home, if I am somewhere that I can start taking a real ballet class, I do so.
Now, this doesn’t avoid the inevitable shock of returning to a full rehearsal day that lasts until 6:30, but it most certainly helps to lessen the pain, even if only a small amount; every little bit helps! Though I have to admit that most of the time, I am too excited at being back to work, and preparing to get back onstage to think about the sore muscles and joints. Well…perhaps just a little bit!
Double Kiss!
Revisiting My First Love
For those of you who know me, and know me well, it comes as no surprise to you to know that I was a child actor. Oh yes indeed. Appearing as the cute little boy with the bicycle asking the man at the car dealership if he had “one of those 94 Grand-Am SE Sedans with air” (not to mention a big bit about the fact that the car had a REAL CASSETTE PLAYER!), or as the younger brother in a sitcom pilot who kept saying “I don’t wanna wear no pants!” (referring to the snow pants his sister was supposed to make him put on…of course!), or the personal favourite moment: the moment that actually cemented both in my three-year old mind and into the minds of my parents that I was meant to be a performer…
It was the Nova Scotia Drama League’s annual “All-Star-Fantasy-Frolic” (say that five times fast); the show was Annie, and I was playing a little apple seller boy on the street during the scene when all the homeless people sing “We’d Like to Thank You”. My father was a member of the band, playing the drums, and I believe that is how I got involved in the first place. So, it was the end of the show, the whole cast had done their curtain calls, and were exiting as the band was doing the “play off”. The lights were going down, and there I was standing all alone at the front of the stage, totally oblivious to the fact that my fellow thespians were no longer there with me. In my memory of that moment, which is actually one of my most vivid early memories, I was actually scanning the large audience to see if I could spot my nanny/babysitter, who my mom had told me was coming that night. There were so many people, and I remember looking over all the faces and seeing all the strangers that had just watched me do something on a big stage. The only time I had ever gotten people to watch me before was when I conducted shows for my parents in the living room, as I’m sure many performers had done when they were young children. It was an unforgettable experience, and I still think about it every time I stand on stage during a “call” and look out into the applauding audience.
Believe it or not, I am not just delving into the past, but rather thinking about it and how it relates to my present. This coming week, we at Les Ballets de Monte-Carlo will be presenting Jean-Christophe Maillot’s “Le Songe”…also known to English speakers as “A Midsummer Night’s Dream”. If you will bear with me and take a wander back to your high school English course, most of you may remember the different groups of characters in the play:
There are the Lovers: Lysander, Hermia, Helena, and Demetrius. As well as the other Athenians; the queen Hippolyta, the king Theseus, and Hermia’s father Egeus
There are the Fairies: Titania, Oberon, Puck, the page boy (or in our version: Puckette), and the other fairies
And finally, there are the Artisans (the ones who want to put on a play for the royalty): the carpenter Quince, the joiner Snug, the weaver Bottom (he’s the one who gets turned into a Donkey and Titania falls in love with him), the bellows mender Flute, the tinker Snout, and finally the tailor Starveling, played by yours truly! (In the second cast at least)
For all intents and purposes, this is a typical ballet; dancing to music. However the music is different for the different characters. For instance, the Lovers dance to the classical music by Mendelssohn, most of which was selected from the incidental music to his opera version of the play. The Fairies dance to odd electronic music, to give them a magical, otherworldly feel. The Artisans…well that’s just it…. We don’t really have music per se. I mean, there is the occasional “soundscape ” that we may have in the background, but for the most part there is none because we have dialogue. That’s right, you did hear me correctly. Dialogue
But speaking in a ballet you say??? That’s preposterous!  Well, under normal circumstances, you would be correct, however these are not normal circumstances. Of course there are no long soliloquies or epic monologues worthy of Shakespeare himself, but our voices and other acting skills do get a fair bit of a workout. There is a slight bit of dancing that we do, both during our “performance” for the royals and when we are hypnotized by Puck. Apart of that however, it’s us and our expression, with no steps to hide behind.
I have to say, it’s been a very different process, but a very rewarding and fun one. There is a certain amount of freedom that we have as to the type of character we create (within the confines of what we have to do in a given scene, of course!), and I’ve found it to be so much fun to concoct a ballet persona that actually gets to speak from time to time. He’s a little shy, and nervously fidgets with his hands all the time, his voice sometimes cracks, and he also likes to sneak up on people and awkwardly stand there with no regard for personal space. When he has to audition for the part of the lion in the play against Snug…he screams. Like a little girl. And to answer your obvious question; yes, we are supposed to be funny!
So here I go, entering this last week before summer holiday, really looking forward to our (the second cast’s) chance to have our premiere in “Le Songe”. Wish us luck, because I know we’ll already be having fun!
Double Kiss!
Into the Digital Looking Glass…and What’s Looking Back
So recently I was discussing how the use of video and the advent of the digital age has been changing the dance world in terms of how we learn ballets as dancers, and also how they are maintained over the years; staging after staging after staging. However, there is also another major way that the use of video specifically has changed the lives of dancers in companies all over the world: after the conclusion of a given program or performance, you can take the video and watch yourself, and examine the work that you have just done.
Now, sometimes the desire (or lack thereof, but I will get to that in a minute) to watch yourself dancing on video simply stems from curiosity: “how did I do?”, but it is also an invaluable tool for learning and making your dancing better. For instance, you can have a ballet master give you the same correction over and over again, and even though you understand what they mean, you may not be able to “fix” it in a way that is satisfactory to the people sitting at the front of the room. After having the chance to watch yourself, even just once, that same correction can be fixed in an instant: there is this “aha!” moment that occasionally happens if you’re lucky, and everything that anyone has ever told you about a specific step immediately becomes clear, like wiping the mirror after a hot shower.
Personally, I find that I learn an immense amount simply by watching myself dance. I actually like to watch a video of a premiere the next day, before the following show. I repeat this process several times during the run of a new ballet, and every day I try to pick out a couple new things to think about that night onstage in order to make my performance even the tiniest bit better. This is what we are always striving for, isn’t it? Perfection?
Though, this is a double-edged sword, because one can easily become bogged down and obsessed with the little details of your dancing, losing sight of the larger picture of the piece. This makes for a terrible onstage experience when you next dance the same ballet because all you can think about are the little details:
Be sure not to travel too much stage rightÂ
Watch the angle of your head in the back bendÂ
Make absolutely sure to stretch your knees and feet in this next jump
And while this may improve how you look onstage, the spirit and joy is inevitably lost. It’s no longer fun to perform, and it starts to fee like WORK! Therefore a certain amount of detachment and realism about what you’re seeing stare back at you on the screen is imperative.
Many dancers also cannot stand to watch themselves at all. Some will just never be satisfied, and are constantly upset whenever they have to watch something that they have danced. There is often a disproportionate relationship between how a dancer feels during a performance, and what the end product looks like. You can have what felt like an amazing show, and the ballet master may say it was not your best work, or you may see the video and cringe in horror. The reverse is also true (and not to mention is a huge stress reliever when you can finally bring yourself to watch the video). I have developed a certain method that keeps my head sane during a run of performances: I always watch the worst one, the one where I was so tired I felt I could barely lift my leg, or I was in a bad mood and just wasn’t feeling it. I never look at this particular video critically however, I always just watch, as if I were a member of the audience. Afterwards I ask myself “how did I feel about my performance, without thinking about how it felt on the day?” more often than not, the answer is a resounding: FINE. Not great, just alright, which on an awful day is a blessing. Then I say this: “well, at least I know it will never look worse than that” Then I shower and go home, feeling slightly reassured about the whole thing.
Now let us all hope that I can continue to be able to feel that way for many years to come!
Double Kiss!
Into the Digital Looking Glass
We live in a fantastic digital age don’t we? There is always information right at your fingertips, now more than ever, with the advent of the smartphone. There is always something new to watch or to listen to, or news happening somewhere in the world.
This age is both a blessing and a curse to the ballet world. On one hand, the process of learning a ballet is a much simpler one with video being so easily captured and stored. It is no longer necessary for someone staging a ballet to be intimately familiar with notation; Benesh Notation being the most common form. This is a way of writing down dance in an internationally recognized form, which is laid out almost like written music when you see it. Now, my knowledge of notation does not extend much farther than that, and it looks just as foreign to me as reading Mandarin…but I digress. We can now watch a video of any ballet that we have been asked to learn, which allows for the rehearsal director to save much-needed time when there is a time crunch if the dancers already have a loose idea of the steps they will be asked to do when they come into the studio. However, this is also a hotly debated topic both by balletomanes (people who love ballet) and the dancers and ballet masters themselves. For instance, a dancer will always have in his or her mind the way that they saw a certain step executed on the video, and will inevitably try to emulate it, whether consciously or not. In a way, there will always be some hint of the dancer who inhabited that role before (however this is most certainly not always a bad thing!). From a more practical stand-point, there is the issue of “how was this step meant to be?” I can’t tell you how many times I have stood in the studio, watching some performance over and over again, only to reproduce what was actually a mistake that the dancer on the video made. Perhaps he had a mental blank for a moment, or perhaps his turn was not quite going the way that he wanted it to, and did something that was not in the original choreography to try to save it from really going sour. Either way, whenever a new ballet master sees you dance the role, or has a different memory of the way it was, it more often than not leads to no small amount of confusion.
I remember when I was in school, one of my teacher told me a story about one specific ballet that he had danced. Throughout the ballet (it was very abstract), those who were not supposed to be dancing at a particular moment were allowed to wander around in the back on the stage, and watch those who were dancing. It gave the ballet a great feeling of competition between the dancers; A sort of “look what I can do!” and “oh really? I can do better!”. However, there was one solo in the middle section of the ballet for the lead woman, and there were specific instructions that no one else was to be onstage during the solo, any other time, but not then. Perhaps it was the rebel inside him, but on one performance, he felt a little different, and decided to stand in the upstage right corner with his arms folded or hands on his hips; watching her. He then told me that a recent video that he had seen of another company performing that same ballet had one person in the upstage right corner during the lead woman’s solo, arms folded. He inadvertently had changed the history of that ballet simply through that one choice he made that night!
So you see, video is both a blessing and a curse for us. I just hope that when the time comes for someone to learn off a video that I danced in, that I will have done the ballet justice!
Double Kiss!
A Garbage Can full of Ballet Shoes
Several months ago, at the end of April, when Spring was just starting to really assert itself (well, I have to admit that we were a little further along over here in Monaco!) Les Ballets de Monte-Carlo had just finished a run of five shows of a mixed program of three completely new ballets. These ballets had been created on us, and it was the very first time that anyone in the world had seen them. It’s quite a remarkable thing when you think about it, to be part of something new and exciting, not knowing at all what you will be wearing, or even what music you will be dancing to or what kind of steps you’ll be doing at the moment when you see your name on that rehearsal schedule to work with someone you probably have never had the chance to work with before. However for the moment, that’s all that I will say on the subject of dancing something totally new, because my thoughts are concentrated on one image that I associated with our last day at the Grimaldi Forum (our theatre here in Monaco) in April.
This is an image that does not necessarily have anything to do with that particular program, but it is something that happens frequently in the life of a performer of any kind. After the last show, after all was said and done, pictures taken, thank yous made, and make up put away, I was walking out of our dressing room (four levels below the ocean actually!)  I noticed the garbage can in the corner. It was filled to the point of almost overflowing; with ballet shoes. Simple flesh coloured pieces of canvas, but that represent so much. They are perhaps the most important tools of our craft, they cover our feet, allowing us to jump and turn without the friction of bare skin on the floor, while still giving the illusion from the audience that our feet are as plain as the day we were born.
Yet there they were, discarded into the bin and left behind, as were our thoughts of the ballets we had just performed. They were new, and not actually part of the current repertoire, so who knows; maybe one of them will return again, and maybe not. It is quite possible that all the work that we did from January to April has faded into the past, it was well used and had served it’s purpose to allow us to reach the point of standing on that stage and presenting something new and exciting to the world. We have moved on to other ballets, both new and familiar, and all we take with us are the memories, or the things we learned about our dancing and ourselves, or maybe even an injury or two.
This process happens rather frequently for not just dancers, but for performers in general. We work and work and work towards a particular project, and in the end get a very disproportionate amount of time to share it with the world compared with the amount of rehearsal and effort that was put in, both inside and outside of the studio. Yet that’s why we do what we do, for that magic moment when the house lights are dim, and the audience is hushed, watching the curtain rise. That short moment of silence before the music begins holds nothing but potential and expectation, both from the audience: What are we about to see?, and from the dancers: I wonder how this is all going to go…. And with any luck, the end result is something that all involved can be content with. We live in this fashion, from magic moment to magic moment; leaving one ballet behind and moving onto the next. Though with any luck, we will take with us that which we have learned and use it the next time we grace that stage. Who knows, we may just surprise ourselves.
Double Kiss!
Mind Over Matter!
As I sit at my computer on this summer evening, and watch my hands flutter across the keyboard, one thing is one my mind: I’m not really “watching”! I sit, and think, and type a few letters, perhaps with the addition of an unwelcome x in the middle of an otherwise mundane word. It has turned into a very slow process…
It never used to be like that. I used to write all the time, whether it was a detailed essay examining setting in Yann Martel’s “Life of Pi”, or a short story about the day our family dog was run over by a car (he survived the accident, don’t worry!). However, now writing to me seems like a bicycle sitting up in the shed; one that I haven’t gotten a chance to ride in a very long time. Yes, I know, one could argue that I’m writing at this very moment, and that I have already done so if I simply just scroll down the page of this blog.
Just humour me for a moment, and scroll down, will you? Look at how the language has changed, even the simple paragraph structure has changed! I used to write long, and detailed paragraphs, now I feel like I jump from one idea to another, without much connective tissue to tie all the ideas together. If you don’t believe me from reading this blog, then all you have to do is listen to me speak lately. Stupid grammar mistakes and mispronunciations are becoming a much more regular occurrence, and I feel as if I’m starting to sound a little more like the friends I have who come from other countries where English is not the first language.
Four years ago (and I just had to stop myself from using the digit “4” instead of the word!) I was writing up a storm, not to mention the fact that my brain was still “wired” for it. It feels like I’m deathly close to a short-circuit at any moment.
Well, to sum up the last four meandering paragraphs: I’ve been feeling stupid lately.
There it is. That awful stereotype that we’re supposed to do everything in our power to avoid people having these thoughts: that dancers are stupid. True, a dancing career is unlike any other in that most are employed in a ballet company full-time directly out of high school, there is no such post secondary grace period for dancers. After all, if we only can work until around the age of forty, and even less than that should a career ending injury befall us, we don’t have much time to lose.
So yes, we are lacking the formative years of post secondary education that a great deal of the population has…and that fact used to not bother me at all. Until I spoke a sentence that was so utterly incorrect and devoid of any grasp of English grammar, one of my Canadian friends in the company just looked at me in disbelief: “you speak so properly that we sometimes make fun of you, and you just said that??”
I knew it was time to do something about it.
Here I am, considering something that a year ago I never thought would even cross my mind; a university degree.
No, I am not planning  on giving up my dream of dancing, but rather seeking something to complement the intensive work that I do with my body on a daily basis, since the upstairs half doesn’t get that much of a workout nowadays. Since we live in the wonderful age of technology, it can all be done online, one course at a time, while I keep up my fabulous life of doing what I love, and getting paid for it.
Maybe I should put in a call to the electrician, and see if he can repair a few of my “burnt-out” brain circuits first!
Double Kiss!
Arabian Nights
This past weekend was a special weekend for me (and I bet for some audience members as well, given the ballets we performed!), it was the first time Les Ballets de Monte-Carlo had ever been to Syria, and the first time that I had ever been to a middle eastern country. It was an “experience” from start to finish!
Now, given what has been going on in various countries in that area of the world, we were all slightly apprehensive about taking the trip to Syria. Especially since there is a huge protest against the government scheduled in Damascus on March 15th. After returning home to France, I can safely say that our worries were completely unfounded. I don’t think that I can remember a time that I have been to a place so different, and filled with so many multitudes of history and culture. And why should I have expected any less from the oldest most continuously populated city on earth, and has sometimes been called “the cradle of civilization”!
Embarking into the city our first day, we had to drive a fair distance since our hotel was situated closer to the airport than the city center, I was immediately struck by the incredible differences between rich and poor. Before you reach the center of Damascus, you have to pass homes that barely have walls, people making campfires in the middle of fields outside their homes, and huge, red, plastic water containers on their roofs. My first thought was “and we’re doing ballet here?”. It made me feel very lucky to be where I am and doing what I love day in, and day out.
Having said that, the reason that the company was invited to dance in the first place, was to benefit BASMA, an organization that helps children in Syria who are dealing with cancer, so in a very small way, I felt like I was doing my little part to help in some way! Judging by how full the audience was, I’d say we did pretty well…
Now, everyone doing their part for humanity aside, I have to say that I cannot remember the last time that I have been to a country when the food was so overwhelmingly fantastic every place we went (barring my checkered relationship with Arabic coffee…) although I think the company went through many upon many boxes of gum and mints in a four-day period, in an attempt to hide the amounts of onion and garlic that we had ingested. At least we were all slightly…shall we say “perfumed” in it, so perhaps it all evened out.
It was not all sight-seeing and eating, however. We actually did dance! Scheherazade and Daphnis and Chloe to be precise. I wasn’t sure how the ballets would be received, especially since Scheherazade has a slightly more “provocative” ending to the story, but when we finished the ballet and all was said I done, I was floored by the cheers and bravos coming from the audience. Perhaps a change is not as far off as I might think, and fingers crossed that they will have us back in a few years. And next time, I’ll be the first on the plane!
Double Kiss!
Lights, Camera, Dance! (Again)
So, several months later, we get a little sneak peek at the work we did for the film version of Scheherazade. The full ballet airs this summer on French TV!
Double Kiss!