A Quote by Laura Benanti

I feel like people used to leave their homes and go to their local theatre, and they used to watch ballet dancers and musical theatre performers and tap dancers and orchestras and dog acts. You had to leave your home, be in the presence of other people, know how to behave, and enjoy the human being whose beating heart was in front of you.
So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.
Dancers can get to see almost everything now. When I used to go into companies to make a piece, the dancers had hardly ever seen my work. Now they can watch it on YouTube. It means they're much faster at picking up material.
I used to do puppet theatre and also mime and musical theatre in Florida for competitions and festivals, which was great. I was very much involved in theatre when I was in college.
Ballet needs figures that people can recognize and relate to. People don't know ballet dancers as well as they know other artists.
Theatre is expensive to go to. I certainly felt when I was growing up that theatre wasn't for us. Theatre still has that stigma to it. A lot of people feel intimidated and underrepresented in theatre.
The theatre training is second to none in Ireland and England. You meet people who haven't had theatre training - it is harder for people who worked in TV to go into theatre than the other way around.
In my childhood, I used to go to theatres to watch independent singers' outing on screen. I used to be excited about how different they sound in a video and at a theatre.
Do I watch dancers as people? Yes, absolutely. Do I watch really good dancers for specifically who they are? Absolutely, because how they move best and how they look best is going to be most familiar to them, and not necessarily to me.
I know that dancers, especially ballet dancers, can't do it forever.
It's going to take a while before we see a real shift in the students and the dancers that are going into professional companies because it takes so many years of training, but I do think that there's a new crop of dancers, of minority dancers that are entering into the ballet world.
Ballet in September used to be dead as a dodo. Now, with City Ballet's ingenious decision to give us four weeks of repertory in the early fall, having cut down on the relentlessly long spring season when dancers, critics and audiences droop on the vine, we wake up after the dog days of August with something to look at.
I've always loved musical theatre. I've always been a big kind of closeted musical theatre nerd. I really have always dreamed about being able to do musical theatre.
The Royal Ballet is the best paid company, but the dancers get nothing. The stage crew get paid three times more than the dancers, and they have a job for life - dancers only have 10 years.
I didn't go to university. I studied theatre in high school and worked with Canberra Youth Theatre and The Street Theatre and other theatre organisations in Canberra, and that's how I got my training.
It's very difficult for me to do fund raising for my own organization if I'm working for other companies because sponsors will say, 'Well, hey, man, if she's doing a ballet for Ballet Theatre, we'll give money to Ballet Theatre.'
When I was 12, I was doing competitive jazz, tap and ballet in Michigan. The studio put the best dancers together, and I joined that. We always did really, really well in local competitions.
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