 Dancing, American Ballet Theatre soloist Sarah Lane stands out for her clear lines, strength, and sincere and charismatic stage presence. In conversation she creates a similar impression --honest, focused, and totally charming. Lane recently danced the part of the Shakespearean heroine Miranda, a role created on her, in Alexei Ratmansky's latest ballet, The Tempest. In this Q&A, Lane talks about her involvement in the creation of a new ballet, pursuing artistic growth, and tips for aspiring dancers.
What was it like getting to be the first Miranda? It was the first time in my life being cast as one of the principals in one of Ratmansky's ballets and having a ballet actually set on me. I was so honored to be given that opportunity and to be involved in the creation of a role, especially one that has such an in-depth character. What is the creative process like working with Alexei Ratmansky? What are some of the challenges of learning and contributing to a work-in-progress, and what are some of the rewards? You have to keep a totally open mind. Alexei likes to try a lot of different ideas and you have to be ready for change all the time. He might decide to scrap something entirely that you'd be working really hard on and do something totally new. You have to be willing and able to learn constantly. You put yourself into the process too, though, with your own nuances here and there. If he likes it he'll keep it, and if not he'll tell you. He's very straightforward. The Sibelius music was beautiful. It really said something to me and inspired my movement. Alexei's a very musical choreographer. He hears little notes in music that others might miss. It can be challenging -- he choreographs a step to every little note so there's a lot there to take in, coordinate, and have flow through your body and feel natural -- but it's a great experience. It teaches you to really listen and makes you more musically sensitive and responsive as a dancer. The Tempest, a condensed version of the play, relies heavily on the dancers' dramatic abilities to convey the story. How do you hone those skills and work on bringing your character to life? Ballet really isn't just steps. You have to have motivation behind your movements and to know where the steps come from. I love Miranda. All of the Shakespeare-based roles are great characters. There's so much to work with in the play itself, and you can bring your own experiences to bear to really delve in. When my character feels a certain way or when she's reacting to a certain impetus, those feelings are something any of us have felt in life. I try to find examples of those feelings or responses from my life and that helps make it sincere. Read more; Sarah shares insights to find guest roles and advice for young dancers on The World Dances Blog. by Tamara Johnson | 
