Dallas — Walking into Bridget L. Moore’s composition class freshman year at Booker T. Washington High School for the Performing and Visual Arts (BTWHSPVA), Rebecca Troyak was immediately drawn to the worldly choreographer’s energy and teaching methods.
“She has such a power about her and she is just a beautiful person inside and out,” Troyak says about her dance mentor. “She is so thoughtful about her work and is so willing to bring something new out of you. I didn’t know I had the ability to choreography until she brought it out of me. She also has had an amazing career and it is refreshing that someone so talented is willing to be so opened about her experiences and share her knowledge.”
Moore shares with TheaterJones that her first choreographer opportunity occurred in college at The Ohio State University with the late Jeraldyne Blunden, founder of Dayton Contemporary Dance Company. “Jeraldyne saw something special in me and invited me to workshop choreography on the dancers in the company,” Moore says. “That was a rare and unique opportunity and was the catalyst for honing my craft as a choreographer. I also had wonderful teachers who continued to push me as an artist even after I had long graduated. These same teachers are now my friends and colleagues and continue to support me and the work that I do. I now offer the same support that was given to me as a young aspiring artist and choreographer.”
Moore’s passion for nurturing the next generation of dancers and performers is just one of the many refreshing characteristics she brings into her role as the new artistic director of Dallas Black Dance Theatre (DBDT), which is evident in the lineup for her first Director’s Choice performance Nov. 3-5 at the Dee and Charles Wyly Theatre in Dallas. Along with an expanded version of Moore’s Uncharted Territory, the program also features Andy Noble’s Tower and a duet by newcomer Troyak.
“Bridget has this kind of mindset where she wants to nurture young artists, which is so wonderful and I am so grateful that she wants to help nurture me still at this time in my life,” Troyak says. “I mean it is definitely scary walking into a room knowing that I am younger than most of the dancers, but everyone at DBDT was so responsive and supportive that it made the process really easy.”
“I have always been impressed with Rebecca,” Moore says about her decision to have Troyak work with the company. “But I was extremely pleased to see her sensibility and approach to working in a professional setting with DBDT. The dancers were very receptive to her process, and she being a college student had no bearing on her artistic integrity, information shared with the dancers or the professionalism she brought to DBDT.”
“Rebecca is exceptionally gifted, both as a performer and choreographer, and is a young artist with considerable promise. There is a level of maturity and sophistication about her work and that is essentially the reason why Monophonic was selected to be a part of Director’s Choice.” (See a video of a previous performance of Monophonic above.)
Originally from Ontario, Canada, Troyak and her family moved to Dallas when she was 12. She attended BTWHSPVA where she was a member of the Repertory Dance Ensemble I. During her four years there she had the opportunity to work with various renowned choreographers, including Jessica Lang, Dwight Rhoden, Sidra Bell, Lar Lubovich, Takehiro Ueyama, Clifford Williams, Troy Powell, Adam Houghland and Andy Noble. Troyak has also trained at Hubbard Street Dance Chicago, Batsheva Dance Company, San Francisco Conservatory of Dance, Complexions Contemporary Ballet and the Joffrey Ballet School. Troyak is currently a junior at the University of Southern California’s Glorya Kaufman School of Dance under the direction of Jodie Gates and William Forsythe.
Troyak will be presenting her work Monophonic, which is a duet she created alongside her best friend during her senior year at BTWHSPVA. The piece explores the couple’s unique relationship using a blend of contemporary and modern movement devices. “I say we are an unlikely duo because we are complete opposites. He is super outgoing and I am on the shy side, but what makes are relationship work is that he has given me so many qualities of him and vice versa and we have become better people because of each other.” She adds, “The piece is really just about exploring the give and take of relationships and human interaction and connection in general, and what we have to offer one another.”
Troyak points out that name of the piece, Monophonic, is a musical term meaning one sound. She says the dancers demonstrate this idea by staying separated in the beginning, but as the work evolves they come together to be one person or one sound. “So, they are not individuals by the end. There are two people who have given and taken so much of each other that they are in harmony with one another.”
The music Troyak selected is a dramatic opera piece that she says fits her choreographic personality. “I am an emotionally driven person so, I like music that is emotionally charged and that is what I found in this opera piece.” She adds, “When I am dancing I like to feel the music. I don’t want to just do shapes in the space. I want to feel every moment that I am making in space and feel the intention and purpose of what I am doing and I think music is so powerful and it definitely drives my movement a lot of times.”
After teaching a company class and watching the dancers improv for a bit, Troyak chose DBDT company members Claude Alexander III and Jasmine White-Killins to perform her piece with Zion Pradier and Hana Delong acting as their understudies. Known for his dynamic stage presence, lyrical athleticism and effortless partnering, it’s no surprise why Troyak chose to work with Alexander. What is surprising is that Alexander will be dancing with White-Killins after being paired up with Alyssa Harrington for multiple seasons. (Harrington moved on from DBDT at the end of last season.) “Because I didn’t really know the dancers going into this process I relied on my instincts when it came to matching up the couples. I just kept switching them around and I just kept going back to Claude and Jasmine.” When asked what drew her to these two dancers Troyak says, “During company class Claude caught my eye right away. He has something really unique to offer, which this piece definitely requires. And what is awesome too is that Claude and Jasmine are actually really good friends and so they could really connect to the work.”
Troyak also says this experience has taught her a lot about herself, including how to take ownership of the room and how to share her knowledge in terms that the dancers could easily understand. “It was a different task for me and I am thankful to Bridget for allowing me to have complete control from beginning to end. Troyak adds, “What has surprised me the most about myself during this process is my ability to take ownership and lead the space. Because I’ve been so used to the other role where I listen and don’t talk, I surprised myself by being able to take charge and go up to the front of the room and say exactly what I wanted. And what was really amazing for me was watching the dancers’ change how they were moving to fit the demands of the dance.”
» Katie Dravenstott is a freelance writer and dance instructor in Dallas. Visit her blog at https://kddance.wordpress.com