Movements tell stories

Did you always know that dancing would become your profession?
For me, there was never a Plan B. I started dancing folklore in Spain as a child, and the moment I took my first ballet class, when I got home after class, I told my parents that I already knew what I wanted to do for a living, that I wanted to be a dancer. I was 13 years old, and from that day on, I never considered doing anything else. (I think they didn’t believe me at first), but when they saw how determined I was, they had no choice but to believe me and support my decision. I couldn't imagine at that time how hard this profession can be, both physically and mentally, but when you find your purpose in life and are lucky enough to work at something you are passionate about, the barriers disappear and you give free rein to your own creativity.

Are there any dance styles or traditions that have had the most influence on your work?
I have been fortunate to work with incredible choreographers and directors throughout my stage career who have inspired me and helped me discover my own potential. Some of them, such as Kim Duddy and Dennis Callahan, even encouraged me to become a choreographer. All that learning naturally influences the way you move or create, although for me the biggest influence was Ann Reinking, who was the muse of the great Bob Fosse. I have been working with the Fosse technique for many years, learning the quality of movement and that you can tell a story through movement, that all movements have a reason or an emotion within a choreography.

How do you see the role of dance in musical theatre? Which aspects are particularly important to you?
I believe that just as we can communicate through speech or song, the body is another instrument of communication, and the union of these three disciplines is what I like most about my creations. Everything we do on stage is movement, from walking to pausing and remaining completely still, to the simple movement of a hand or head. All of this is just as important as the technical virtuosity that may be present in a choreography. For me, it is important that it is not simply choreography or an organisation of steps; there must be a fusion with direction to create a unique language and unison. I always create choreography based on the emotion I want to convey to the audience, and from there the choreographic movements emerge. And that is the magic that can only be created in musical theatre.

Musical or operetta: From your perspective as a choreographer and director of a dance ensemble, what makes each genre so appealing?
Personally, I like both genres and treat them equally. I believe that musicals would not have come about without the influence of genres such as operetta. I believe that today there are highly skilled artists and that the movement within a show can be fused much more without such a separation among the choir, the ballet and the soloists. I like fusion and updating the original visions of a script from the past with today's perspective. That is the beauty of creativity.

What ist it that you like most about your role, being a permanent part of the team here in Baden?
What I amreally happy about is being able to work with a team of extremely talented people with whom I can create, experiment and grow together creatively, without judging each other and supporting each other to bring out the best in others and in ourselves to create the best result together. Being part of a creative team, both on and off stage, both artistically and technically. What's more, the programme that Andreas Gergen brings to Baden is a dream come true, so I feel really lucky to be here.

Is there a show you'd really like to work on at Bühne Baden, or in general, a sort of unfulfilled wish list?
That's a difficult question because I love versatility, from comedy to drama, and I love self-written musicals. PIPPIN has always been one of my favourite plays, although it may not be well known here, but I've always been passionate about the story, the music and the choreographic possibilities it offers. SOME LIKE IT HOT and THE WILD PARTY fascinate me. And as I love working with children, I'd like to do OLIVER or ANNIE one day.