“APASSIONATA has been Europe’s most popular live arena shows for
nearly a decade, thrilling more than five million fans across 15 countries with a breathtaking display of the beauty and the bond between horse and rider, man’s strongest and most trusted animal.” – Apassionata.com
During my final mock audition in BDC’s professional semester, I received representation from McDonalds Selsnicks and Associates (MSA). One of the benefits of having an agent is that sometimes they have closed calls with just their clients, if their choreographer was booked for the job. When MSA sent out the breakdown for a horse show audition, I didn’t know what to expect. However, I was excited when I saw that Lorin Latarro was choreographing; I loved her choreography in The Musical Theatre Performance Project last year. The audition combination had a lot of personality, was technically challenging, and stylistic. After cuts were made, she paired us up for partnering. I was overjoyed when I received the call that I booked the job and even more so when I found out a fellow colleague of mine was going to do it with me. (Go Wildcats!!!!)
We rehearsed in NYC and learned a lot of material quickly, keeping in mind that a lot would change once we actually got to the arena. Our first stop was Kentucky. Technical rehearsal consisted of long days in the dark cold arena. These rehearsals involve a lot of hurry up and wait, but I found that during the waiting is when you can learn the most if you stay engaged. It was such a privilege to watch Ken Billington (96+ Broadway Shows) do the lighting design and learn from Scott Farris (dir. “Chicago” and “Walking with Dinosaurs”) as he brought together American theater and European Equestrian riders. Lorin Latarro (Currently choreographing “Scandalous” set to hit Broadway this October) pulled from her diverse performance background and allowed us to collaborate on certain parts. It was a very artistically fulfilling process.
Dancing in sand, running with flags and fire torches was strenuous on our bodies. For body maintenance, I did some form of Pilates, Yoga, and rolled out my muscles with a tennis ball. We had to be flexible and try to figure out how to adapt the choreography in the sand, and how not to spook the horses or get spooked by them. During rehearsals you could hear Portuguese, French, German, Ukrainian, Icelandic, and English being bantered across the gigantic arena. After one of the first runs of the show, the horse choreographer called everyone together and our choreographer jokingly said it looked like a medieval conference. Picture 40+ horses and riders gathered together speaking different languages and four American dancers and a choreographer standing in a giant sand box. It was a surreal experience.
As Dance Captain, my responsibilities were to run any extra rehearsals, communicate with the production team, maintain the artistic integrity of the choreography and spacing, make sure that the dancers safety and needs were met, and promote team unity. This production was a learning process for all of us. Most of our stage crew came from the rock concert world and we had to share with them certain theater protocols and vice versa. The communication between the tech crew, dancers and riders was extremely important, because the horses weren’t always predicable. We couldn’t depend on entering or exiting on a musical cue and it forced us to be quick on our feet, listen and watch each other. We developed physical and verbal cues and had to go with whatever happened in the moment.
Some of the perks of this job were that we had amazing caterers who traveled with us, we learned how to ride horses, picked up a little bit of French, Icelandic, and Portuguese, and got to work with and meet incredible people.
Due to the financial crisis in Europe, Apassionata’s USA tour came to an end early (It is still running in several countries in Europe). We were given less than 24 hours notice that we were going back to NYC and the rest of the tour was cancelled. Of course, we were sad and it’s always a little unnerving to be without a steady job, but nothing in this business is guaranteed. That’s why it’s important to save when you are doing a show, so that during the slow times you can continue to train and be ready for the next opportunity. I learned a lot from Apassionata and am looking forward to what the future holds.