Listen: American Valley Theater, Alexi Romanski, Criag Raphy discussed on City Arts and Lectures
"Yeah that's So, for me it's twenty nine. Year, olds You know I I feel like because of the path of my journey and getting me to American valley theater and. Just the way things worked out, for me I tried not to say. Like nothing's this isn't, possible because of this so at twenty nine I allowed myself to still dream and when Alexi Romanski who's the creator for for, our Firebird American ballet theatre selected me instead. I want mystique, be one of the Firebirds It was like okay this is my this is my opportunity I think it's probably my last opportunity to show and prove that I'm capable of being. A principal dancer so that role, had a lot of meaning behind it. Just because it was, like this is it it's either this or I'm going to be a soloist for maybe two more years and then retire so, I just kind of dove in headfirst and And tell us how you develop a role. In how you develop that role is so yeah I mean each each role is different but you. Know with firewood it was being created on me so that's a very different experience than stepping into. A role that's been done for hundreds of years Working hand-in-hand with the court so there were three dancers. The Natasa and Isabella boylston the three of us. Were working in the studio with Alexi rot monce key and having this Criag Raphy created on us and it was really intense and the part of, the Firebird is. Very physical and she's jumping all the time and just moving in different directions so it was really a lot on the body and I remember, just. Like limping out of the studio every, day and walking, across the, street to the equinoxes and going. Into the sonnet just like oh my God I don't know how I'm gonna do this again tomorrow And we worked, one on one with them like that for a couple of weeks. And and then when we really started piecing it. Together with the company I was feeling a lot of pain in my my left tibia in my shin and it was like nothing's gonna stop me, I'm gonna pretend. That pain isn't there and I'm gonna get through Firebird And at the same time, I, was also I just been given the role of gums. Audience for the first time which is a, big jumping role. As, well and I was dancing, a lot so it usual to have have multiple roles like the leading loans yeah I will probably in one season in New York City in the spring, I might do up to fifteen different roles so and you're just constantly rehearsing these, different things one time, so it takes a. Lot of different personality different character teachable yeah my husband thinks I'm crazy Replacing them around the house But so I actually ended up performing the Firebird in southern, California for the first time which was amazing to be home and to be doing this huge role for me and and and see this crowd of young Brown kids come out for the first time that was really, an in California that I, that I saw that shift and I'm still. Dancing with all this pain and then I. Get to New York City and I think Firebird we didn't do the third or. Fourth week of the season so I've been dancing almost every night and doing other roles and We get Firebird and it's it's really big deal it's a black woman at. The Metropolitan Opera house might pictures on the front of the met And the first the first. Black woman to do that role in American valley theater so it was a pretty big deal Like I remember I'd never seen anything like it none of us ever seen anything like it just like people. Just lined up outside of the metropolitan I."