January 30, 2017

Elite Training Program

ELITE TRAINING PROGRAM

Audition June 10, 2017 at 5:00pm

No Audition Fee Please bring photos of Headshot, first arabesque, tondue al la second and please have pointe shoes if on pointe.

The Elite Training Program is guided by the vision of School Director Marshall Ellis, and under the leadership of Program Director Rachael Riley, Assistant Program Director Lauren Sherwood, and an renowned faculty of Marshall Ellis Dance School, our program provides an intensive ballet training experience for students in pursuit of a professional career. Acceptance is by audition only. Students from around the world compete for fifteen spots each year. The program aims to provide a unique personal, versatile, and positive training experience for students. The Elite Training Program September – June.

$600/ Monthly Tuition. Includes: (Tuition includes daytime classes, Unlimited drop in night classes, Workshop Series Performances, local and regional dance festivals, rehearsal fees, and professional training for a future in a dance career. Program runs September 2017 – June 2018. Total Annual Tuition $6000. Marshall Ellis Dance School is open year round. During dark months drop in fusion program is available for $200/month.

Rachael Riley – ETP Director

Lauren Sherwood – ETP Assistant to Director

Weekly Schedule September 2017-June 2018

Monday: (5.5 hours total)
9:00 – 9:30 Self Warm up
9:30 – 10:30 Progressive Ballet Tech
10:30 – 12:00 Ballet / Pointe
12:00 – 12:30 Lunch
12:30 – 1:30 Pointe / Pre-pointe / Men’s Class
1:30 – 3:00 Variations & Repertoire
3:00 – 5:00 Academic Block
Evening optional Classes Highly recommended

Tuesday: (5.5 hours total)
9:00 – 9:30 Self Warm up
9:30 – 11:00 Ballet / Pointe
11:00 – 12:00 Pointe / Pre-pointe / Men’s class
12:00 – 12:30 Lunch
12:30 – 1:30 Partnering (adv) / Pilates (int)
1:30 – 3:00 Contemporary or Rehearsal depending on if a show is coming up
3:00 – 5:00 Academic Block
Evening optional Classes Highly recommended
5:00 – 6:00 Yoga Flow
5:00 – 6:00 Body Core

Wednesday: (5.5 hours total)
9:00 – 9:30 Self Warm up
9:30 – 10:30 PBT
10:30 – 12:00 Ballet / Pointe
12:00 – 12:30 Lunch
12:30 – 1:30 Pointe / Pre-pointe / Men’s Class
1:30 – 3:00 Variations & Repertoire
3:00 – 5:00 Academic Block
Evening optional Classes Highly recommended
*5:00 – 5:30 Stretch
*6:30 – 7:30 Contemporary/ Improv

Thursday: (5.5 hours total)
9:00 – 9:30 Self Warm up
9:30 – 10:30 PBT
10:30 – 12:00 Ballet / Pointe
12:00 – 12:30 Lunch
12:30 – 1:30 Pointe / Pre-pointe / Men’s Class
1:30 – 2:00 Weekly log check and new exercises handed out & taught
2:00 – 3:00 Deep Stretch
3:00 – 5:00 Academic Block
Evening optional Classes Highly recommended
*5:00 – 5:30 Pointe
*5:30 – 6:30 Ballet barre & stretch
*6:30 – 7:30 Jazz

Friday:
Day off for Academics / Family Time

Saturdays:
Optional Classes Highly recommended
*11:15 – 12:15 Yoga Flow
*12:30 – 1:30 Ballet Barre (adv. do on pointe)

Proud partner with Florida Virtual School

Enroll Now For Florida Virtual School

If you are interested please email classes@medanceschool.com for more details!

ABOUT THE STAFF

Rachael Riley – Program Director

Rachael Riley is originally from Orlando, Florida, where she began her ballet studies. She continued her training at the Royal Winnipeg Ballet School, in Manitoba Canada, where she graduated with honors in 2005. She was invited to join Luna Negra Dance Theater in 2006 as a guest artist and the following year she was offered a soloist position with Omaha Theater Ballet. In 2009, she joined the Grand Rapids Ballet Company (GRBallet) where she danced featured and principal roles for several seasons. Some of her favorites ballets have been, Red Angels, Light Rain, Ramonda, Sleeping Beauty, Paquita, Flower Festival in Genzano, Moor’s Pavane, Nine Sinatra Songs, Company B, Amazed in Burning Dreams, The Envelope, and George Balanchine’s Serenade, Who Cares, and Four Temperaments. She worked with Slovakian choreographer Mario Radacovsky in the creation of the role Juliet in his interpretation of the Romeo and Juliet story and the role of black swan in his version of Swan Lake “White Swan, Black Swan”. Rachael also worked with Patricia Barker, Michael Auer, Peter Boal, Charthel Arthur, Sarah Stackhouse, Wes Chapman, Yuan Yuan Tan, Shelly Washington, Julie Tice, Preston Miller, Kirk Peterson, and others preparing for classical roles and new works. During her time with GRBallet Rachael appeared nationally and internationally as a principal guest artist and was also a resident choreographer for GRBallet; creating several works, some in partnership with the Grand Rapids Symphony. Rachael has taught at multiple ballet academies and has been a guest teacher at Ballet Summer Intensives throughout the United States. She enjoys passing down the wisdom she has gained throughout her professional career to the dancers of the future.

Rachael Riley’s Teaching Philosophy:

Ballet is more than a series of positions or flawless technique. It is the emotions and intention behind the movement that creates a meaningful performance. In my classes I emphasize on movement quality and artistry, along with proper technique and alignment. I focus on the importance of proper transitions between steps. This fluidity is what makes ballet look effortless.

I incorporate, creative teaching strategies and cross training methods, that helped prepare me for a successful career in dance. One of these creative strategies is centered around improving a student’s memory and fast retention of combinations and/or choreography. This is a very important skill to have as a professional and one I feel is not developed enough at the academic level. Some examples of cross training methods I utilize are floor barre, pilates, yoga, and progressive ballet technique (ballet ball exercises). I have found these methods to help students have a better understanding of their body, allowing them to correct alignment issues, and refine their technique. Additionally, these methods help strengthen and enforce proper muscle usage, while increasing extension and flexibility.
I teach a mix of Vaganova technique and Balanchine style because I believe that it is important for students to be versatile and adaptable. While the classical Vaganova training gives students a solid technical foundation, the Balanchine style allows dancers to learn to move quickly and effortlessly.  When I teach, I physically demonstrate the combinations or exercises, so that students have a visual understanding of what they are striving for. Additionally I give oral instructions, utilizing the French terminology, descriptions, and helpful mental imagery, to help students have a better understanding of the movement. I encourage my students to focus not only on the technical side of a step but on the equal importance of movement quality and artistry. Reminding them that the emotions behind the movements are what bring life to a performance and help create a connection with the audience.

Lauren Sherwood – Assistant to Director

Lauren Sherwood began her training at the Draper Center for Dance Education in Rochester, NY.  She graduated from the University of North Carolina School of the Arts in 2009 under several scholarships.  She went on to dance Corps de Ballet, Soloist, and Principal roles with Atlanta Ballet, BalletMet Columbus, Montgomery Ballet, and The Georgia Ballet.  Her favorite roles included the Dewdrop Fairy in The Nutcracker, Christine Daae in Phantom of the Opera, and the pas de deux from On the Nature of Daylight. Lauren was a principal faculty member at Montgomery Ballet School from 2012-2014, teaching ballet to all ages.  She directed the Fairytale Ballet Program in 2013 and 2014 and coached dancers to compete at Youth America Grand Prix in 2014, where her students placed in the top three.  She has also taught ballet at the Centre for Performing Arts in Prattville, AL and at the British Academy for the Performing Arts in Marietta, GA.  Lauren is currently a Principal AEA performer at the Festival of the Lion King show at Walt Disney World, where she has performed in parades and shows since 2015.  She is also a company dancer with Dance Theatre of Orlando and has performed soloist roles in Keys, as Gina in Change, and as Claire in The Nuthouse.

NOTICE OF NON-DISCRIMINATION POLICY

Marshall Ellis Dance School admits students of any race, color, sexual orientation, national and ethnic origin to all the rights, privileges, programs and activities generally accorded or made available to students at the School. It does not discriminate on the basis of race, color, sexual orientation, national and ethnic origin in administration of its education policies, admissions policies, scholarship programs or any other school-administered programs.