You're playing Marguerite, who is based off the character in The Lady of the Camellias. What is she like?
She's a very elegant, effortless and delicate character. But at the same time, she goes through so many emotions, like anger, desperation, betrayal. That's when her movement starts getting a little more aggressive. At one point I even dance barefoot.
How would you describe the choreography?
It's very sensual and emotional. Helen Pickett does a really good job connecting the emotional state of the character to the movement. She'll say, "In this part, you feel anxiety," and does a movement. But she also gives me the freedom of creating. For a dancer, the best thing you can do is create with a choreographer and make a role your own.
What's it like working with Pickett?
She challenges me, and that's what I love about her. She knows she can give me anything, like speaking onstage, and I'll try to make it work. Of course, I'm from Uruguay, I have an accent and my English is not perfect. But she trusts me.
How is the speaking woven into the choreography?
It's pretty amazing--they happen together. I'm in the middle of a solo, and I have to scream and say things and express my feelings through movement. We have a lot of rehearsals where we ask, "Where exactly are we going to breathe?" I have a jumping solo and a microphone, so I can't inhale loudly before I'm going to say something. Everything is about timing.
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