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60
FRIDAY, MAY 19, 1989
ENTERTAINMENT
Shall We Dance
Continued from preceding page
head for New York City to
crack the city's prestigious
dance companies to make her
mark.
"When I go to New York,
my energy level and New
York's energy level seemed
just about right," she said.
She studied and danced
with dancers Wendy Rogers
and Rudy Perez, taught dance
in nearby colleges, and then
found a home with the Dan
Wagoner Dance Troupe
where she stayed eight years
as a dancer, from 1977 to
1984.
She also taught dance at
the Alvin Ailey American
Dance Theater, choreograph-
ed dances for off-Broadway
plays as well as for a televi-
sion situation comedy,
"What's Happening Now."
She has studied a variety of
body therapies to bolster her
teaching skills, such as the
Alexander technique, which
is a way of aligning the body
to 13t it function efficiently in
motion.
She also said she has
studied the Bonnie Bain-
bridge Cohen method, which
is the ability to communicate
movement, and the Pilates
method, which strengthens
the body for specific exercises.
If New York City was a pro-
fessional and artistic awaken-
ing for Sichel, it also was a
spiritual and 'cultural
awakening.
"I found the Jewish
presence exciting and
stimulating, and part of the
fabric of New York City," she
said. "It made me feel comfor-
table."
Showing up in California,
Sichel said her connection to
Judaism was primarily
through Sunday school.
She said she thought more
about her religious
background, attended
religious services more often
than in the past and "in-
vested more time in exploring
her religious roots" while liv-
ing in New York City.
But dance remained her
passion.
In 1986, Sichel went to Col-
orado Springs to choreograph
a play, Dragons, written by
Fiddler On the Roof lyricist
Sheldon Harnick. She met
two former Harbinger
dancers who told her about
Harbinger's predicament.
In 1987, Sichel auditioned
for the Harbinger job by
writing a dance called
"Detroit Personals." Impress-
ed by the dance, Harbinger
named Sichel artistic director,
effective September 1988.
She has just finished her
first year, and her work will
Sichel auditioned for the Harbinger job by creating a dance, 'Detroit
Personals.'
be reviewed by the Harbinger
board. If the review is
favorable, she will return to
Harbinger next fall. She said
she expects to return.
She will return to New York
City in the summer but come
back to Detroit for Harbinger
functions.
Harbinger can provide her
with "the chance to have an
influence on the dance
world," she said, adding that
she doesn't consider the job a
stepping stone to another
dance company.
Her personal goals include
writing books on dance, and
on motion theory, and to just
keep creating new dances.
"The creative process is a
long term, lifetime activity,"
she said.
But most of her energy will
be directed to increasing the
name and visibility of Harb-
inger, a goal totally possible.
The dance troupe is set to
tour Minneapolis in 1990 and
a European tour is not out of
the question — if the money
is there.
The company's current
travel plans are more modest.
Harbinger will teach and per-
form for Troy elementary
school and middle school
children this summer.
French, English and Italian
dance communities look
favorably upon American
dance companies, Sichel said.
The trick is to make Harb-
inger available and its work
worthy to merit an overseas
invitation.
"I see Harbinger as being a
very strong regional company
with national and interna-
tional recognition," Sichel
said. "To make it so, you
build." ❑
Former Detroiter Douglas Sills will portray the role of Rapunzel's prince
in "Into the Woods."
Stage Is The Thing
For Detroit-Born Actor
HEIDI PRESS
News Editor
lthough Douglas Sills
is "fascinated" by te-
levision, his acting
venue of choice is the stage.
"My first love always will
be the stage," said the Detroit-
born Sills. But if an oppor-
tunity in TV presented itself,
Sills would give it careful
consideration.
Sills portrays Rapunzel's
prince in the Fox Theater's
production of Into The Woods,
which runs through Sunday.
The Shaarey Zedek Religious