Three Attributes to Look For In A Performing Arts Company

Over my lifetime obsession with Artist Management and Arts Administrative jobs I have read hundreds of articles, dozens of books, and looked into the lives of successful artist management teams with a microscope. Trying to learn the ins and outs of what makes these people successful is mind boggling sometimes. In LA everyone likes to put on a front. It is hard to decipher who is truly competent and who has a team of people that truly makes them and their company’s successful. During the last 10 years in the work force I have learned that there are three things I need in an art management job to be happy – teamwork among co-workers, well developed organizational structure, and great leadership.

Having co-workers you can depend on in the work place is vital to events going off without a hitch. If there is distrust in the workplace you have a tendency to try and do everything yourself which in most cases is not humanly possible without working seven days a week. So how do you trust the people you work with quickly when just stepping into a job? Get to know them outside of work and get personal. Don’t just talk about work. If meeting up outside of work gives you hives try connecting with individuals in the office one on one. You would be surprised how many people will open up when you include them in a project you are working on or asking for their advice.

Jonathan Dickins (Adele’s Manager) said, “If you have a short term focus, you are going to get short term results.” Having a lack of organizational structure is detrimental. I have worked in both structured and unstructured companies. Many that are unstructured manage all events, tours, and marketing within the event year, while structured companies manage all event aspects in a three to five year timeframe. Having that time allows for branding development, strategic marketing, and event expansion. How can a company grow if all you are ever worried about is getting through that year? The answer is it is impossible.

Finally, and the most important, strong leadership. Jimmy Iovine is one of the biggest names in the music business side of the industry. In a past Billboard magazine Iovine said, “Be careful not to breathe your own exhaust.” I think this statement encompasses why great leaders are great. Be careful not to look at everything you say as gospel. Know that you can be wrong. And understand that to bring the company up, you have to bring your team up first. The importance of how you approach your employees can be what makes you stand out as a great leader or horrible boss. If you are supportive and encouraging with a mix of level-headed toughness it is going to make everyone work just as hard as you do because there is a line of respect. In Aretha Franklin’s words, “All I’m asking is for a little respect, just a little bit.”

Tiler Peck – Destined to be a NYCB Ballerina

Tiler Peck’s story is like a movie. She is from Bakersfield, California and got her start dancing when she was young at her mother’s dance studio. Jazz technique was her favorite, but her mother encourage her to have a strong ballet base. At seven she began to take private classes with Bolshoi ballerina Alla Khaniashvili. Soon after, she began ballet classes in Santa Monica at Westside School of Ballet from former New York City Ballet (NYCB) principal Yvonne Mounsey and with other NYCB alum Colleen and Patricia Neary. She continued to do other performing arts activities such as acting and singing as a child, and with the help of her agent, Victoria Morris, Peck was also able to advance her career. Some of these career pushing activities included movies (I.e. Donny Darko, A Time for Dancing, and Geppetto), ballet performances such as Clara (en Pointe) in the the Radio City Spectacular at Universal Studios at ten, and Broadway in NYC at 11 in the revival of The Music Man. At thirteen her mentors, and NYCB alumni encouraged her to apply to the School of American Ballet. She was accepted and began her studies in NYC for two summers before moving to New York to study Ballet full-time. At New York City Ballet, one of the most prestigious ballet companies in the world, she moved up the ranks quickly. In 2004 she joined as an apprentice. In 2005 as apart of the corp. In 2006 she was promoted to soloist. Finally, in 2009 she was moved up to a principal where continues to be today.  (All date and background information found through Dance Magazine’s “The Magnetic Tiler Peck” by Astrida Woods)

Her artistry in her dancing is breathe taking. Peck loses herself on stage in a work and has developed a musicality that is revered. She makes every port de bra, every pirouette, and each arabesque look natural and unhurried. Her presence within pieces such as Christopher Wheeldon’s Carousal or the Romantic duet in Jerome Robbin’s Fancy Free is storytelling that can make any ballet hater want to go see another. Peck’s story isn’t all sunshine and roses. Just like any artist she has had successes as well as set backs. In 2007, at eighteen, she broke her back and was out for six months. That kind of injury, and that length of time being out can be career ending. The loss of technique, flexibility, and the competition of up and coming ballerinas can put many injured dancers at a crossroad where they need to retire. Peck persevered, healed, and became more flexible, a stronger dancer, and developed a thought process of potential plans after dancing.

In the performing arts world there has been exploration among artists who continue to push boundaries as not only an artist, but continue to develop new ways to increase revenue streams and become more of a public face. In music you see artists crossing genres like Taylor Swift going from Country to Pop or even switching performing art styles like Kiesza going from being a professional dancer to a singer. In dance, it’s becoming more prevalent for professional ballet dancers to do other activities outside of their company contract. In Peck’s case she recently had the lead role in a new musical performed at the Kennedy Center called Little Dancer as well as did a six week run on Broadway with On The Town. Peck isn’t the only one in the ballet world doing cross over work. Other artists such as Robert Fairchild (led of Wheeldon’s Broadway Musical An American in Paris) and Megan Fairchild (On The Town). It doesn’t stop there either. Just like musical acts, they are starting to cash in on branding, like Peck with Body Wrappers Apparel, Misty Copland with under armor, and Lauren Froderman with Gatorade.  These crossovers are exciting because Ballet and dance in general is becoming more popular in society and not just looked as an elite art form.

If you look at Peck story it seemed that she was destined to be at NYCB. Her story also gives you insight on how a successful Ballerina gets to the top and understanding that sacrifice as a child is where it starts. Peck didn’t have a normal life. She pushed boundaries by being involved in all walks of the performing arts, left home at a young age, and had developed an understanding that she is not going to be a ballerina forever. For now, I look forward to continuing to see her breath taking performances around the world, as well as being a role model for mini ballerinas to look to for strength, guidance, and an understanding of the dance world.

Below you will find Tiler Peck’s insight and dancing on Balanchine’s TSCHAIKOVSKY PAS DE DEUX