1. Where was Florenz Zeigfeld born?
2. What were two major influences of the Zeigfeld Follies?
3. What were the Zeigfeld Follies productions comprised of?
4. In 1910, Zeigfeld hired the comedian Bert Williams to perform. Why was this revolutionary at the time?
5. True or False: Zeigfeld hired leggy showgirls with hourglass figures and little body fat.
6. True or False: Zeigfeld was a great choreographer.
7. Today, which productions are clearly influenced by the Zeigfeld Follies?
8. When was the last Zeigfeld Follies performance that was produced by Zeigfeld?
9. Can you name two women who were famous Zeigfeld Follies showgirls?
10. Which famous choreographer was the inspiration for the character Juilian Marsh in 42nd Street?
1. Chicago; 2. Buffalo Bill’s Wild West Show and the Folies Bergère; 3. A new revue-style production was unveiled each year, comprised of ballet and soft-shoe tapping, sentimental ballads and comedy, showgirls and theater.; 4. Williams was a black comedian, and due to racism and prejudice of the time, not conventionally hired for Broadway productions.; 5. True; 6. False; 7. The Radio City Rockettes; 8. 1931; 9. (mentioned in the article) Rose Dolores, Fanny Brice, Louise Brooks, Ann Pennington and Sophie Tucker; 10. Julian Mitchell
After having spent a lifetime looking at ourselves in the mirror, constantly appraising, who of us wouldn't want to take a dance class in the dark? Two Australian dance students, Alice Glenn and Heidi Barrett, had the same thought in 2009 when they founded No Lights No Lycra, a global dance community that offers dancers and nondancers alike the chance to get their groove on in a dark space, where there's no light, no Lycra, no technique, no teacher and no steps to learn. It's just a place to lose yourself in the music and find your own dance mojo. The event became so popular that it spread past its Melbourne beginnings, first throughout Australia and now, globally.
Four incredible educators: Joanne Chapman, Claudio Muñoz, Pamela VanGilder and Kathleen Isaac foster their students' love of dance, whether instilling artistry, offering rigorous training or giving special needs students an outlet through movement.
When Jennie Somogyi retired from New York City Ballet, she found herself in high demand as a teacher. Parents called, texted and persisted. "I don't even know how some of them got my contact information," she says with a laugh. But Somogyi, who departed from NYCB in 2015 after a 22-year career, hadn't made any definitive plans for the next stage of her life. "I just like to see how things move me," she says. She discovered, though, that she enjoyed the process of giving private lessons and seeing the rapid progress students could make. Over time, she realized that teaching was something she wanted rather than needed.
Does your studio slow down when the weather warms up? If you don't offer a summer session, June through August can be a cash-flow challenge. One popular—and easy—strategy is to offer weeklong camps instead. We spoke to three professionals to learn how they make summer camp work.
This week Ballet Hispánico launched its first ChoreoLaB workshop, a summer intensive intended to better prepare aspiring professional dancers—with more than just excellent technique. Artistic director Eduardo Vilaro wanted to create a program that bridges the school and the company, to help dancers transitioning into the professional world and better hone their skills.