2013 Couture Fashion Week

It's been a minute since I've updated this.  Per usual.  My website (www.sidneyerik.com) has a blog that I try to keep totally up-to-date with the things I'm doing.  And sometimes I get too busy making things to keep up with the other side (talking about the things I'm making).  And that's okay.  The work comes first.  And then, when I get breathers, I play catch-up.  Trying to get as caught up as I can right now when things are only slightly hectic...

Throwback to February, 2013.

I was asked to choreograph a runway show for COUTURE FASHION WEEK.  BROADWAY SINGS FOR PRIDE sponsored a Broadway-themed fashion show where musical theater talent performed as the models strutted in couture gowns by ANDRES AQUINO.  I staged the finale dance, and because it was the intersection of Broadway and Fashion I decided to kick it old school.  A little "Rich Man's Frug"...

Looping vs. Looping

The NEW YORK JAZZ CHOREOGRAPHY PROJECT gave me the chance to reinvestigate "Looping".  In a majority of the dances I present, I'm rehearsing under the gun.  Paying for studios, getting friends to dance for me for low/no pay, doing my best to work calmly and cleanly.  I don't like taking advantage of people's time (which they're mostly donating), so I generally put things up quick and dirty and let the cards fall where they may.  This was the first piece I got to step away from for a bit and rediscover.  Distance is crucial.  I could see what was working, what wasn't, and revisit.  The one thing I couldn't control was cinematography.  I'm not overly pleased with the video.  Focus issues, missed moments, lack of closeup.  But it was out of my hands.  The CHOREOGRAPHY part of things feels like a success.  Clarification of moments.  More intricacy.  Better set-up at the beginning.  A sculpted lighting design.  Cleaner.  Here for the first time I an present a side-by-side comparison of the evolution of a piece.  Very proud of this dance.

First, the original...


Now, the new and improved...

Looping 2.0

Looping was a beautiful dance. I loved it and was thrilled with the way it turned out. But it wasn't quite fully developed. We had an abridged rehearsal process, not nearly enough tech time, and at the single performance there was a technical mishap and the stage went to blackout briefly. All in all, not ideal. So I wanted to revisit, make some tweaks, and show it again. That opportunity came up with the NY JAZZ CHOREOGRAPHY PROJECT.

I'd known one of the artistic directors, Merete Meunter, through events at the SDC and she invited me to apply.  I sent off the video of the original and it was immediately accepted into the fall showing.  Unfortunately, many of my dancers were unavailable.  Booking little things like national tours and, oh, BROADWAY.  I got to explore the movement with a new crew who brought their own flair to it.  And they were gorgeous.  Here are some pictures from the dress rehearsal we had courtesy of Travis Kelley Photography (he who got such brilliant pictures of the original).  Obsessed with his composition and some moments he captured.  Looping 2.0 will always hold a special place in my heart as the first piece I ever remounted.  I'm starting to develop repertoire!  Awesome development in my dance path!

"Looping" at the Choreographer's Canvas

     My second time presenting a piece for the Choreographer's Canvas, and my choreo is growing by leaps and bounds!  The first year, I debuted "The Lady in the Street."  It was my first true narrative and my longest piece.  A man seduces a woman and brings her back to his place, but once he gets her in bed she flips the tables and becomes the aggressor (aided by her vengeful fury henchwomen).  About 5 minutes with a cast of 4.  "Looping" is a different beast.

     9 dancers.  Over 5 minutes long.  4 individual vignettes that combine to illustrate an overaching theme.  It was an ambitious dance.  I loved creating it with some fabulous performers and I love the story it tells.  It's emblematic of the work that I enjoy doing.  About human connection.  Contemporary. Romantic.  Real.  I got a fantastic response from this one and I'm so proud to share it with the world.
Without further ado...

"Looping"

Are You There, Ann-Margret? It's Me! Highlights

This project was just...fun.  Such a blast choreographing in classic Vegas spectacle style.  Camp and cheese and glitter and sequins.  Trying to live up to the legend.  Here's a highlight reel to give a taste of what we did.  My unofficial off-broadway 'debut' as a choreographer.  Fingers crossed that there's a future production somewhere/somehow.  It was truly fabulous!

Are You There, Ann-Margret? It's Me! Photos

Just a li'l taste of the show.  Loved working with this talented and uber-fabulous cast!

Photos by Francis Fanini

Hair highlights

I love when projects are mutually beneficial and everybody wins. Dance (212) was documenting my summer and as a result of that I was able to get high quality footage from the final dress rehearsal of Hair. A little imovie editing and presto, instant highlight reel! This is an incredible show and I'm so grateful I got to play around and put my own spin on it! And as you can see, the cast is living!

Band of Gypsies 2-The Race: Production Photos

The uber-talented Nicholas Ziegler captured some fantastic moments during the tech rehearsal. I love when the physical pictures I create inspire some breathtaking images from a fellow artist. Movement captured into a preserved moment. Another person's creative perspective illuminating thoughts in my own. It's cool. Collaboration is fun!

The Lady in the Street-Choreographer's Canvas 2011

Official video debut! I LOVED working on this piece. So many artistic challenges. The is the longest number I've choreographed to date. It's the most complex plot I've developed. A number of costuming elements. And we threw this baby on its feet in three rehearsals. Band of Gypsies consumed my calendar and took a priority so I had to focus on developing that piece. When "The Race" premiered, I had one week to get in the studio and make "The Lady in the Street" happen. And I got my people together. And we made it happen. And it was glorious.

I've gotten some great feedback on this piece. I feel like it made an incredibly strong impression in the context of the show and opened some really fantastic doors for me professionally. But more importantly, it feels like a success artistically. This is the kind of work I want to do. Looking at it with some perspective now, there are some tweaks I would make. But the core of the number feels solid and I'm so incredibly proud of the work and of the dancers that brought it to life. So grateful.

Choreographer's Canvas 2011 Production Photos

Still waiting on that footage but until it arrives I can tease out the piece with these production photos that the amazing photographer Ilan Harel was able to grab at the concert. I'm amazed that at ONE performance only we were able to capture these shots. It's a tribute to the photographer, to my dancers who KILLED it, and I guess to my choreography which had some really strong lines and moments that read. Very clean. So grateful to everyone who helped this piece come to life and to the Group Theater, Too which produced the evening. It was a memorable night.

http://ilanharelphotography.smugmug.com/

KOH sizzle montage

Choreographed a tv pilot about male strippers. This is a montage of the more 'bump and grind' footage. I created specific movement profiles based on each actor's character. The veteran was confident and barely giving anything to be sexy whereas the underage kid was swinging from the pole and going crazy. The silver spoon dude who didn't need the money was just stripping to show off. Etc. Bits of choreo here and there but mainly character and making sure the actors looked authentic and comfortable. And sexy. Probably NSFW.

Official video-Sunday Interlude, NYC

It's my first post in a bit. I've been busy doing the 'performer' thing instead of the 'choreographer' thing. Working on a holiday show at Walt Disney World is giving me the chance to stretch some underused dancer muscles and build up the bank account. Unfortunately, it's not giving me the chance to really work on my own combos. I've decided to use the time to overhaul my marketing materials so that come 2011 I can submit a polished package. New reel(s), new website, and new seamless edits of my work.

I finally got the videographer's footage from the Band of Gypsies showcase and have been playing around with my imovie program. It's amazing the difference an abrupt transition or a bad crop job can make in the flow of a video! Putting this version together was my own personal trial-by-fire class in film editing and I learned so much. Good thing too, because I have the feeling I'll be doing many more of these in the future. So here it is at last, the best representation of this duet I can come up with based on the footage I have at my disposal. I love this piece and, if given the chance to set it again, will do my best to get HD footage. It really makes a difference. Until then, I present...

Band of Gypsies-Sunday Interlude, NYC

I can't begin to say how proud I am of this number. Band of Gypsies marked my NYC debut as a solo choreographer presenting my work. It was also the first time I've been able to choreograph for dancers. The process really stretched me as an artist and I loved every minute of it.

I first approached Chip Abbott and Tiffany Ocvirk about dancing for me and when they agreed I was totally thrilled. I've been in class and auditions with them for a while and both are truly incredible performers. We had a number of rehearsals and I constructed the piece around their abilities. Then, four days before the concert, Chip was forced to pull out of the number. I was booked solid for the next couple days with other projects (In Between Men shooting, Andy B. intensive). We scrambled to find a cover and lucked out with the unbelievable Cort Larson, a friend of Chip's. I was unfamiliar with his work, but when he came in and learned the entire piece in one rehearsal I knew that he would be totally fantastic.

I couldn't have done this one without so many great people in my corner. Thanks to Katrina Philip for bringing Band of Gypsies together and asking me to be a part of it without knowing my work as a choreographer. Thanks to Chip for creating and being an amazing assistant/videographer when he couldn't be in the show. And thanks to Cort and Tiffany, my radiant dancers. You made this everything I wanted to be.

PS-This is a rough edit with my personal footage. Official videographer video coming in the future.

************UPDATE*************

This is the new and improved official edit.