ent000010-002

30 Dancing... For A Living - two as much as you can about the choreographer, agent or entertainment director that you are auditioning for. It always gives you an advantage to know what their background is, what style they have, and what they expect from the performers they hire. I know this information is difficult to obtain, and that is why I make it a priority to get it to you. I remember the words of Michael Peters, a choreographer I admired very much, who said, Don t limit yourself. A versatile dancer is a hot commodity.?╟Ñ Well, it makes perfect sense that Jerry Jackson has been a hot commodity for forty years. He is often called the ?╟ ?╟ Renaissance Man?╟Ñ because he has the ability to produce, write, direct, choreograph, design costumes and compose music. How?╟╓s that for versatility?! Jerry choreographed ?╟úSeven Brides for Seven Brothers?╟Ñ on Broadway at the Alvin Theatre. He choreographed the 100th Anniversary of the Folies Bergere, in Paris, France. He has created, directed and choreographed the Folies Bergere in Las Vegas, from 1975 to the present day. This is a successful run no other choreographer can match. He has written, directed and choreographed many revues in Las Vegas, The Bahamas, Australia, Paris, Acapulco, Puerto Rico, Guam, Lebanon, and London. But I don t want to just talk about credits, because I could go on forever. I want to talk a little bit about background and style. After acquiring a Masters Degree in Art at UCLA, Jerry worked as a regular dancer on the Danny Kaye Show where he met and later assisted Hermes Pan. He later became an assistant choreographer to a dancer many of us have heard of, Mr. Fred Astaire. This is important information. You can imagine that someone with these credentials would be very high on training, discipline and style. I had the pleasure of working for Jerry Jackson at the Folies Bergere in Las Vegas. Now, as dancers, we all learn a little something from every dance opportunity. Chapter Three ?╟÷ Guam and Japan 31 Let me tell you how Jerry helped me to become a better dancer. First, if you don?╟╓t want to dance with all the energy and enthusiasm you could possibly bring to the stage, don?╟╓t dance for Jerry. His numbers are fast-paced and high energy but it?╟╓s more than that. His costume changes, music changes, and set changes are so fast, you?╟╓re working just as hard backstage as you are onstage. I believe this is one of the reasons for his successful long running shows. The audience is stunned at the amount of visual entertainment being thrown at them in such a short time. Another benefit of fast changes and staging is Jerry can make 30 dancers look like a cast of 100. This is an ability many dance teachers should try to emulate in competitions and recitals. Second, is the uniqueness of Jerry?╟╓s style. Like all dancers and choreographers, our style comes from our teachers, choreographers and people we admire. So when you combine that with your own personal touch, you develop your style. As I told you earlier, the influence of Hermes Pan, Fred Astaire, Jack Cole and Jerry?╟╓s own ability, have created his style. Style is everything. I would wager that I can watch a show in any country in the world and in three counts of eight tell you if Jerry Jackson choreographed this show. It has nothing to do with steps and everything to do with style. About the style, deep Pli6. Did I say deep pli<V No, I meant deep p 1 i 6. A good choreographer will tell you what they are looking for at the beginning of an audition. High energy and deep pli?· are always the first two things you 11 hear when auditioning for a Jackson Production. Make sure you warm up because you can bet you will see some extension work. Jerry is famous for the kick layout, and you can expect to see lots of battements in your routines. What?╟╓s even more amazing is at sixty-two, he will have better extension and release than you will. So don t even try to beat him, we tried that already. I would also like to