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"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