Acting and the Art of Dance

Stacie Strong | Sep 22, 2008 | 1

Stacy Milam (center, wearing hat) performing with Chicago Tap Theatre as Gnocchi in "The Hourglass and the Poisoned Pen." Photo by Josh Hawkins.

Although some lucky dancers find it easy to emote onstage, others of us struggle to find a way to portray character and emotion while also remembering the choreography.  We talked to Stacy Milam, an outstanding actor-dancer who has won rave reviews for her work with Chicago Tap Theatre, about both her process and her role in "The Hourglass and the Poisoned Pen," a superhero comic book tap opera that is playing at the New York Musical Theatre Festival this weekend (three shows on September 27 and 28).  Her comic antics are not to be missed, and her insights are illuminating.  Read on for the full interview.

Though petite, Stacy Milam fills the stage with her energy whenever she performs, and it would be understandable to assume that she was born with a great big personality.  In fact, she was put into dance classes at the age of four in an effort to combat her extreme shyness.  Her parents' idea took root, and Stacy continued with dance, eventually earning a Bachelor of Performing Arts in Dance Performance from Oklahoma City University. Though she's busy preparing for Chicago Tap Theatre's New York debut, she took time to speak with us.

SS:  So, you're a member of Chicago Tap Theatre. Was that your first professional dancing job out of college?
SM: Following college graduation I moved to Los Angeles where I performed professionally as a magician's assistant and also became a series regular on So Little Time with the Olsen twins. I took ballet at The Edge everyday and worked as a cocktail waitress at a dinner theater in the evenings to pay my rent. Eventually I made the move to Chicago where I reunited with Mark [Mark Yonally, the Artistic Director of Chicago Tap Theatre] who I knew from his time teaching at my college (Oklahoma City University). Shortly thereafter I attended CTT's first audition and was rewarded with an apprenticeship, and the following year became a member.

SS: Why did you choose to audition for CTT?
SM:  I always enjoyed the pieces Mark set on us in college. He has a very unique style and never tires of pushing the envelope, which is necessary for the growth and evolution of not only the art form, but also of his dancers.

SS:  Was tap always your favorite kind of dance?
SM:  Although I would love to say that it was, it simply wasn't; I was more of the jazz/lyrical dancer type. I always loved taking tap class, but performing tap has always been tricky for me. I have a hard time retaining rhythms and remember having these strange "what do I do with my face?" moments that I had to overcome. . . . As you can see by the picture, I think I figured it out.

SS:   You took a year off from dance in 2005-2006 and then came back. What inspired your return?
SM:  I took a year off from CTT after my husband returned home from a 13-month deployment, and during that time began to study aerial dance. After getting stuck hanging upside down and helpless on the trapeze twice, I decided it was time to put my tap shoes back on.

SS:  Was it hard getting your feet back after being away for so long?
SM:  Yes. My feet played a cruel joke on me that lasted an entire season.

SS:  What's your favorite thing about performing with CTT?
SM:  There is nothing like sharing a stage with people you love. Nothing compares to it. And it's an even more amazing experience to share a stage with people you love while on a stage in France [the company has toured to the south of France twice], realizing that your dreams have just been realized . . . and that there's no other group of dancers you'd rather have that experience with. That's powerful. And later on this month, in New York. . . . I can't even imagine what that's going to feel like!!!

SS:  The great thing about being in a company that does all original works is that the choreographer often works to the individual dancers' strengths. Have you found that to be true at CTT?
SM:  Absolutely. Mark is such a flexible and respectful choreographer, and he really does an exceptional job of embracing the talents of his dancers.

SS:  What kind of roles/numbers have you enjoyed the most and what kind of roles most often get set on you?
SM:  I have always loved physical comedy and am fortunate to have a good understanding of comedic timing. However, while I do have a passion for character work, I really love performing the company rep pieces. Mixology [CTT's live-music show, featuring the best of the company's repertoire and focusing on more conceptual and artistically daring works] is repeatedly my favorite show!!

SS:  What's going on inside your head when you're dancing a role in a story show/narrative piece? How does that affect your dancing technique, if at all?
SM:  Many times I'm thinking about a time in my life when I can relate to the character, and I try to stay focused on that the entire time. If you work on technique enough in class, you will eventually find yourself in rehearsal falling deep into your character work without having to think about anything else and this is when your character really has a chance to grow. By the time you get to the stage, you have a well developed character with technique to support the piece.

SS: What's going on inside your head when you're dancing a more conceptual piece? How does that affect your dancing technique, if at all?
SM:  I use the same process for conceptual pieces that I do for narrative pieces. Although, when I'm performing a conceptual piece I tend to fall into moments where I reflect on the learning process (i.e. problems we overcame while learning the piece, etc), and there is a sort of intimate joy I find in that.

SS:  You have a really strong professional background in acting. Did you do a lot of separate training for that?
SM:  I was very involved in the theater programs in my junior high and high schools, and part of my attraction to the dance program at Oklahoma City University was that they build triple threats.

SS:  Do you find yourself gravitating to the same kinds of dancing roles as you did acting roles?
SM:    Absolutely. . . .

SS:  What kinds of things did you learn in your acting that has helped your dancing? What tips can you share?
SM:  It's important to pay attention to the details. . . do what the character would do. Ask yourself 5 million questions. How would she sit? Would she wear a necklace? Where would she look? How would she hold her chin? You can't be too specific when you're building a character.

SS:   I understand you have a pretty serious day job as Director of the Center for Cancer Care at Saint Joseph Hospital in Chicago.  How does having such an intense workday help or hurt your dance career? How are you able to balance both of those, especially as CTT starts to tour more?
SM:  I am incredibly fortunate to have two fulfilling careers, both for which I have great passion. If I wasn't passionate about my work, in either place, this wouldn't work. But when you feel as strongly as I do about the path I have chosen, you figure out ways to make it work. And of course there are sacrifices along the way, but the moments like I described earlier in this interview. . . when you're standing on a stage during your first international tour with this young dance company. . . I can't think of one sacrifice that hasn't been worth it.

SS:  CTT is off to New York to perform in the New York Musical Theater Festival later this month. What's that show about and what role do you play?
SM:  The show stars Gnocchi. I'm not sure who this Hourglass chick is and would appreciate it if everyone would stop talking about her.

SS:  What should first-time viewers know about a CTT story show?
SM:  The more interactive you are, the better a show you'll see. We want you to cheer, boo, scream, clap, holla . . . whatever it takes! Make your presence known! And if Mark comes out before the show and yells "Rock 'n' roll!!!!" just go with it. (wink)

SS:  Any last tips for anyone who aspires to a tap career?
SM:  Move to Chicago and audition for Chicago Tap Theatre. We have the coolest rehearsal process ever and in general we have a lot of fun while doing what we love. We're pushing the envelope every day. Study what this company is doing because this is a company that's doing it right . . . this is substantial.

Many thanks to Stacy for making the time to speak with us and sharing insights on her process.  You can catch Stacy and all of Chicago Tap Theatre in "The Hourglass and the Poisoned Pen" (starring Gnocchi - uh, the Hourglass) at the New York Musical Theatre Festival this weekend.  Show times are Saturday, September 27, 2008, at 8:00 p.m., and Sunday, September 28, at both 1:00 p.m. and 4:00 p.m.  The company - which is one of the few dance companies in the festival and the only tap company as well as the only out-of-town company - performs at Manhattan Movement & Arts Center, 248 West 60th Street in New York City.  Tickets and more information are available at http://www.nymf.org/Show-938.html.

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