“Do you remember this, when we learned Escapades by Alvin Ailey?” Smith asked Alexander. “There is a part where there are four couples, and we press our ladies above our heads. But in dress rehearsal, the ladies had their skirts on for the first time, so you pick them up above you, her skirt is all over your face, and you had to walk to the other side of the stage. You have no idea where you are, so I just felt the light getting hotter and hotter, and I thought I think this is about right. I put her down and there she was in the right spot. That is troubleshooting, things we have to do on stage all the time, and you would never know it.” “Walking blindly,” Alexander laughed. “Literally, added Smith. Alexander added, “You have to stay inspired and learn to be your own motivation.” As artists, they also have to have nerves of steel. “I was performing the solo Reflections in D and the chain from the curtain malfunctioned,” Alexander remembered. “I hear something above my head going ‘kuh, kuh, kuh,’ and it fell a few feet in front of me. I told myself to keep dancing, don’t freak out, don’t run. I calmed my nerves. To this day, I am grateful nothing fell on my head. So that was scary, but I held on.” “You sure did,” Smith nodded. Both dancers have been able to utilize their creativity as choreographers, each creating two full company works. “In my third season, Mrs. Williams asked me to choreograph on the main company, and she gave me free rein to do whatever I wanted,” said Smith. “What I wanted was to do a piece that had a sense of humor to it; make the audience laugh and make me laugh. We had an absolute ball with Monologues (2013), just coming up with ridiculous concepts and fun stories, characters, and reoccurring roles. It was a really fun piece to do as a company and nice to see people have fun on stage.” Smith also choreographed Interpretations in 2017 as part of the 40th anniversary of DBDT. “My favorite piece I choreographed was A Tender Pardon (2019),” said Alexander. “It was personal. It dealt with real-life issues that I dealt with in my family. It sparked a conversation between my mother, brother, and father that I felt really needed to happen. So I feel like I got to witness art serving its purpose, and it served as a catalyst for change in our lives.” Alexander also choreographed Face what’s facing you! in 2018. Their lives are busy, to say the least, as they both work as rehearsal assistants. In the morning, Alexander and Smith are in the studio with company members preparing for the day ahead by taking either ballet or modern technique classes in the DBDT studios. When it comes to rehearsals, they divide and conquer the work as they wear two hats. As dancers, they work with choreographers as new works are being created. As rehearsal assistants, they maintain the active repertoire by rehearsing the company for upcoming performances. “Anyone who has had the opportunity to work with Claude and Sean in any artistic capacity understands their


uniqueness,” explained Dallas


Black Dance Theatre Artistic Director Melissa M. Young. “They have great intuition and sensibilities, and their abilities as individuals, both as dancers and rehearsal directors, complement one another. I completely trust them with the serious task of guiding their fellow company members as they simultaneously flourish as artists; which is not an easy feat. Their loyalty, passion, and commitment to their craft is evident. Alexander and Smith have enriched our company in extraordinary ways. I am proud of their achievements and love working with them. We call ourselves ‘The Dream Team’ because our journey together has been consistent, and we are willing to do the work it takes to make our big dreams come true for DBDT. Bravo, gentlemen! BRAVO!” Alexander describes his years at DBDT as the ‘best ride ever.’ “We have the advantage that we have been dancing together so long that anytime Sean and I are placed together through dance, it’s really not work. We know each other’s ‘isms.’ I know what he is going to do and he knows what I am going to do.” Smith says whether they are learning a new dance or restaging a work from the company’s repertoire, life at DBDT never gets old. “It should look and feel different and be better than the last time. And I feel like at any moment, if that feeling goes away, then it is time to leave the stage.”


8 • DANCE NORTH TEXAS • FEBRUARY – APRIL 2020


FORMER DBDT DANCERS ON STAFF


MELISSA M. YOUNG—Artistic Director. Has worked at DBDT for 26 years. Danced with DBDT: 11 years (1994-2005). Positions held: Dancer, Rehearsal


Director, Associate


Artistic Director, Academy Director, Interim Artistic Director, Artistic Director. “My professional dance career has equipped me for my


role as Artistic Director in countless ways. I have the ability to make split second decisions with ease and can shift in a completely different direction that may not have been a part of my initial plan without second guessing myself. Also, I can assess the climate of a room and adjust as needed with full confidence.” – Melissa M. Young


NYCOLE RAY—DBDT: Encore! Artistic Director. Has worked at DBDT for 22 years. Danced with DBDT: 17 years—5 years as guest artist.


Performing Ensemble – Bloom, Summer Intensive Program Director, Summer Intensive Instructor. “My many experiences traveling around the world and services with the company have shaped my perspectives on art, arts administration, relationships, and communication… How all entities are equally important and crucial to the overall product, and how that product touches and affects our audiences.” – Nycole Ray


KATRICIA EAGLIN—Dallas Black Dance Academy Director. Has worked at DBDT for 22 years. Danced with DBDT II for three years; DBDT 10 years. Positions held: Dancer, Rehearsal


Assistant, Rehearsal Director, Academy


Instructor, Outreach Instructor, Choreographer, Company Instructor, and Academy Director.


“My dance career at DBDT helps me in my administrative role because it helps me to conceptualize the ‘big picture’ and all the moving parts.” – Katricia Eaglin


MILTON T. TATUM, JR.—Lighting Designer/Technical Director. Has worked for DBDT for 41 years. Danced with DBDT 1976-1989. Positions held: Dancer, Principal Dancer, Soloist, Rehearsal Director, Associate Artistic Director, Company Manager, Touring Manager, Stage Manager, Lighting Designer, Lighting Programmer, Sound Board


Operator, Choreographer, Academy Instructor, Carpenter, Painter, IT Support Person, Videographer/Editor, Facility Support Manager, Production Director. “Dancing at DBDT helps me in my administrative role by providing a great many years of life experiences in knowing how to be a problem solver, and not stay focused on the problems.” – Milton T. Tatum, Jr.


RICHARD A. FREEMAN, Jr.—DBDT: Encore! Artistic


Assistant/Booking Assistant. Has worked at DBDT for 12 years. Danced with DBDT for 10 years. Positions held: Dancer, Academy Instructor, Company Instructor, Outreach Instructor, Resident Choreographer, Booking Assistant, DBDT: Encore! Artistic Assistant.


“As dancers, we often have to use different parts of our brain at the same time to successfully translate the visual language we call dance. This makes for strengthening the skill of multi-tasking. So, I’m able to sit at my desk and respond to emails, review choreography to teach in rehearsal, and hem a costume all at the same time.” – Richard Freeman


KIMBERLIE PAGE—Director of Facilities and Operations. Has worked at DBDT for a total of one year and two months. Danced with DBDT II for one season (2003-2004). Positions held: Dancer, Director of Facilities and Operations. “Being a dancer taught me the importance of everyone’s part/role in contributing to the whole…bigger picture.”


– Kimberlie Page Photos by Brian Guilliaux page 10 May-July 2018 www.thedancecouncil.org


Where the joy of dance becomes the beauty of art! Classical Ballet training from pre-ballet to pre-professional


Positions held: Dancer, Musician, Singer,


Outreach Teacher, Costume Mistress, Choreographer, Rehearsal Assistant, Rehearsal Coach, Company Instructor, Stage Manager, Director of Dallas Black Dance Academy’s


H


Ms. Jackie Furtado In Memoriam


alice “Jackie” Furtado had been with Dallas Black Dance Theatre for 10 years. She joined the dance com- pany after retiring as a former principal and teacher.


The Texas EducationAgency awarded Exemplary Status in academic performance to all schools under her principal lead- ership.


Ms. Jackie holds Masters of Education degrees in Special Education and EducationalAdministration from TexasA&M University –Commerce, where she was recognized as a DistinguishedAlumna.


In lieu of flowers, Dallas Black Dance Theatre has established anAcademy student scholarship in her memory.


Checks should be made out to Dallas Black DanceAcademy with a notation that it is for the Jackie Furtado Scholarship Fund.


Contributions can be sent to: Dallas Black Dance Theatre 2700AnnWilliamsWay Dallas, TX 75201


Earn an Associate Degree Plano - Frisco - McKinney


www.collin.edu/dance dance@collin.edu


Pictured: Ms. Jackie Furtado


901 N. McDonald St. • McKinney, TX 75069 214.477.9434 • www.texasyouthballet.com


DANCE!NORTHTEXAS a publication of the dance council of north texas • FEBRUARY – APRIL 2020 9 • DANCE NORTH TEXAS vol. 21 • no. 2


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