Performance Planner: Over the Rainbow

Each year, Melissa Dobbs, director of the Metropolitan Fine Arts Center in Northern Virginia, a noncompetitive performing arts studio that serves 900 students in two locations, collaborates with fellow teachers and choreographers to use a story or fairy tale as a loose theme. “Fairy tales are . . . familiar, and we can incorporate a lot of different dances and music,” says Dobbs.

This year, 700 students danced their version of The Wizard of Oz. “We added our own twist,” says Dobbs. “It’s not as literal as you would see in a movie. We did something different, so it’s more dance-friendly. Doing a production is so much more valuable than just doing a recital,” she adds. “It teaches them that dancing is not just about the steps they do; it’s more about expression, about telling a story.”

MFAC’s budget for The Wizard of Oz production was $100,000, which included the cost of buying, renting and making the costumes, props and scenery, theater rental and technical staff fees. The school also had to obtain the proper music rights for the show. MFAC employs a wardrobe crew, technical crew, a videographer, light and sound designers and a security team, in addition to 150 parent volunteers. “It takes about 10 or 20 times as much work to put on a production like this, versus a recital,” says Dobbs. Students help out as well. Throughout the year, they participate in costume creation and set building. “It helps them take more ownership,” says Katie Miller, assistant director. “They find a certain sense of pride beyond the technique of dancing.” Read on for details about some of this show’s inspiring numbers.

Music: “Barnyard Boogie,” by Music Works Unlimited

Genre/Level: song and dance (tap with singing), 4-year-olds

These “country kids” re-created Uncle Henry and Auntie Em’s farm on a stage lit in sepia tones to evoke an old-time-movie feel. Dressed in black-and-white checkered petticoat dresses and sunflower hats, they performed tap moves and sang with bright cheery voices, making this an instant audience favorite.

Music: from Cirque du Soleil’s KÀ

Genre/Level: modern, intermediate/advanced

To portray Dorothy and Toto being swept away by the chaotic twister, Miller outfitted dancers in simple black unitards draped with long gray skirts. Circular movements and formations traveling laterally across the stage worked well. A Wicked Witch flew above the stage on a fly rig, and flashes of white light helped to portray a lightning effect.

Music: “Munchkinland” musical sequence from The Wizard of Oz 

soundtrack

Genre/Level: Broadway jazz, ages 8–14

In this ensemble piece, dancers (all under five feet tall) performed a show-stopping Broadway number in colorful handmade costumes.

Music: a mix of music from Cinderella and by composer Hector Berlioz 

Genre/Level: ballet and pointe, multiple (six ballet classes were incorporated)

In a 12-minute ballet suite, dancers performed as beautiful poppy flowers bewitching Dorothy and her friends into a deep sleep. Each dance class or level wore a different colored flowing dress.

Music: “Loompa Land” from Charlie and the Chocolate Factory combined with music from the Pirates of the Caribbean soundtrack

Genre/Level: contemporary, multiple 

levels (ages 11–17)

In the The Wizard of Oz movie, the Winkies are seen as a squadron of evil, flying monkeys. MFAC created their version by using blue unitards, military-esque jackets with animalistic accents and Trojan helmets. Linear formations and grounded, syncopated movement built up this dark Wicked Witch battle scene. “It was constantly moving,” says Miller.

For the culminating scene of the show, Dorothy and friends arrive at the Emerald City and jazz, tap and Irish dancing citizens greet them. Music included hits such as “Sing, Sing, Sing,” by Benny Goodman, “New Shoes,” by Paolo Nutini (for a tap dance about Dorothy’s new ruby slippers), “One Short Day,” from the musical Wicked and, of course, “The Merry Old Land of Oz,” from the original motion picture soundtrack. The set had five custom-built arches that rotated to reveal the Wizard’s chamber. DT

Lauren Green is a senior BFA dance major at SUNY Buffalo and a member of the Zodiaque Dance Company.

Teachers Trending
Alwin Courcy, courtesy Ballet des Amériques

Carole Alexis has been enduring the life-altering after-effects of COVID-19 since April 2020. For months on end, the Ballet des Amériques director struggled with fevers, tingling, dizziness and fatigue. Strange bruising showed up on her skin, along with the return of her (long dormant) asthma, plus word loss and stuttering.

"For three days I would experience relief from the fever—then, boom—it would come back worse than before," Alexis says. "I would go into a room and not know why I was there." Despite the remission of some symptoms, the fatigue and other debilitating side effects have endured to this day. Alexis is part of a tens-of-thousands-member club nobody wants to be part of—she is a COVID-19 long-hauler.

Keep reading... Show less
Teachers Trending

Annika Abel Photography, courtesy Griffith

When the murder of George Floyd in Minneapolis last May catalyzed nationwide protests against systemic racism, the tap community resumed longstanding conversations about teaching a Black art form in the era of Black Lives Matter. As these dialogues unfolded on social media, veteran Dorrance Dance member Karida Griffith commented infrequently, finding it difficult to participate in a meaningful way.

"I had a hard time watching people have these conversations without historical context and knowledge," says Griffith, who now resides in her hometown of Portland, Oregon, after many years in New York City. "It was clear that there was so much information missing."

For example, she observed people discussing tap while demonstrating ignorance about Black culture. Or, posts that tried to impose upon tap the history or aesthetics of European dance forms.

Keep reading... Show less
Studio Owners
Courtesy Tonawanda Dance Arts

If you're considering starting a summer program this year, you're likely not alone. Summer camp and class options are a tried-and-true method for paying your overhead costs past June—and, done well, could be a vehicle for making up for lost 2020 profits.

Plus, they might take on extra appeal for your studio families this year. Those struggling financially due to the pandemic will be in search of an affordable local programming option rather than an expensive, out-of-town intensive. And with summer travel still likely in question this spring as July and August plans are being made, your studio's local summer training option remains a safe bet.

The keys to profitable summer programming? Figuring out what type of structure will appeal most to your studio clientele, keeping start-up costs low—and, ideally, converting new summer students into new year-round students.


Find a formula that works for your studio

For Melanie Boniszewski, owner of Tonawanda Dance Arts in upstate New York, the answer to profitable summer programming lies in drop-in classes.

"We're in a cold-weather climate, so summer is actually really hard to attract people—everyone wants to be outside, and no one wants to commit to a full season," she says.

Tonawanda Dance Arts offers a children's program in which every class is à la carte: 30-minute, $15 drop-in classes are offered approximately two times a week in the evenings, over six weeks, for different age groups. And two years ago, she created her Stay Strong All Summer Long program for older students, which offers 12 classes throughout the summer and a four-day summer camp. Students don't know what type of class they're attending until they show up. "If you say you're going to do a hip-hop class, you could get 30 kids, but if you do ballet, it could be only 10," she says. "We tell them to bring all of their shoes and be ready for anything."

Start-up costs are minimal—just payroll and advertising (which she starts in April). For older age groups, Boniszewski focuses on bringing in her studio clientele, rather than marketing externally. In the 1- to 6-year-old age group, though, around 50 percent of summer students tend to be new ones—98 percent of whom she's been able to convert to year-round classes.

A group of elementary school aged- girls stands in around a dance studio. A teacher, a young black man, stands in front of the studio, talking to them

An East County Performing Arts Center summer class from several years ago. Photo courtesy ECPAC

East County Performing Arts Center owner Nina Koch knows that themed, weeklong camps are the way to go for younger dancers, as her Brentwood, California students are on a modified year-round academic school calendar, and parents are usually looking for short-term daycare solutions to fill their abbreviated summer break.

Koch keeps her weekly camps light on dance: "When we do our advertising for Frozen Friends camp, for example, it's: 'Come dance, tumble, play games, craft and have fun!'"

Though Koch treats her campers as studio-year enrollment leads, she acknowledges that these weeklong camps naturally function as a way for families who aren't ready for a long-term commitment to still participate in dance. "Those who aren't enrolled for the full season will be put into a sales nurture campaign," she says. "We do see a lot of campers come to subsequent camps, including our one-day camps that we hold once a month throughout our regular season."

Serve your serious dancers

One dilemma studio owners may face: what to do about your most serious dancers, who may be juggling outside intensives with any summer programming that you offer.

Consider making their participation flexible. For Boniszweski's summer program, competitive dancers must take six of the 12 classes offered over a six-week period, as well as the four-day summer camp, which takes place in mid-August. "This past summer, because of COVID, they paid for six but were able to take all 12 if they wanted," she says. "Lots of people took advantage of that."

For Koch, it didn't make sense to require her intensive dancers to participate in summer programming, partly because she earned more revenue catering to younger students and partly because her older students often made outside summer-training plans. "That's how you build a well-rounded dancer—you want them to go off and get experience from teachers you might not be able to bring in," she says.

Another option: Offering private lessons. Your more serious dancers can take advantage of flexible one-on-one training, and you can charge higher fees for individualized instruction. Consider including a financial incentive to get this kind of programming up and running. "Five years ago, we saw that some kids were asking for private lessons, so we created packages: If you bought five lessons, you'd get one for free—to get people in the door," says Boniszewksi. "After two years, once that program took off, we got rid of the discount. People will sign up for as many as 12 private lessons."

A large group of students stretch in a convention-style space with large windows. They follow a teacher at the front of the room in leaning over their right leg for a hamstring stretch

Koch's summer convention experience several years ago. Photo courtesy East County Performing Arts Center

Bring the (big) opportunities to your students

If you do decide to target older, more serious dancers for your summer programming, you may need to inject some dance glamour to compete with fancier outside intensives.

Bring dancers opportunities they wouldn't have as often during the school year. For Boniszewski, that means offering virtual master classes with big-name teachers, like Misha Gabriel and Briar Nolet. For Koch, it's bringing the full convention experience to her students—and opening it up to the community at large. In past years, she's rented her local community center for a weekend-long in-house convention and brought in professional ballet, jazz, musical theater and contemporary guest teachers.

In 2019, the convention was "nicely profitable" while still an affordable $180 per student, and attracted 120 dancers, a mix of her dancers and dancers from other studios. "It was less expensive than going to a big national convention, because parents didn't have to worry about lodging or travel," Koch says. "We wanted it to be financially attainable for families to experience something like this in our sleepy little town."

Get Dance Business Weekly in your inbox

Sign Up Used in accordance with our Privacy Policy.