LOLAstretch

Amy Fote was born and raised in Manitowoc, Wisconsin, where she began studying ballet at the Jean Wolfmeyer School of Dance. She continued her training at the National Academy of Arts, and later graduated from The Harid Conservatory. Ms. Fote joined the Milwaukee Ballet and danced there as a Principal for many years. She was invited to be a guest artist for the production of Stanton Welch's Madame Butterfly at the Royal New Zealand Ballet. She has also performed principal roles in Romeo and Juliet, Anna Karenina, Giselle, Cinderella, Carmen and Swan Lake. In addition, she has danced leading roles in works by Alonzo King, Choo San Goh, and Lila York. In 2005, Ms. Fote joined the Houston Ballet as a First Soloist.

Candice Thompson, designer and owner of LOLAstretch, sat down in early October for a long-distance chat with Amy.

CT: You recently made a major career transition. What do you think about when you are trying to make a good first impression?

AF: For me, it is all about appearance and being well prepared. You also have to know your audience. It's different for the studio versus speaking at pre-show talks. At the studio, being prepared means being warm and ready to go. At a speaking engagement, I stand upright, try not to fumble with my fingers or do anything that would make other people nervous. I try to let them into my world. I might even add a joke here and there.
(laughs)

CT: What makes a good first impression on you?

AF: Well, I guess all those same things. Someone who has the overall package. Someone who is well spoken. Those things amount to instant respect from me.

CT: What makes you feel confident?

AF: Again it is all about looking my best and feeling that I have walked into a situation prepared.

CT: Do you have any tricks for looking confident even when you are not feeling it?

AF: Standing up taller and doing what I can do the best I can do it. It's important to get past certain things, mentally, and then you might find yourself saying, "Alright, this is good, this is ok." I find that when you look people in the eye and believe in what you are saying to them, you can fool anyone.

CT: It sounds like you are ready to run for office. Does putting on lip-gloss during five minute breaks ever help you?

AF: Well, I guess my focus is eyes and lips. That's what I want to standout. Now that they know me here, mascara and lips will do. But you can bet that first day-heck, even the first week-I had on my full eyes and lips, not to mention my hair was in place. I was even on time to class!

CT: By "on time," do you mean coming in when class is starting? Or are you turning over a new leaf?

AF: Maybe I am. It comes and goes. But I do remember getting to the studio about 25 minutes before class and wondering to myself, "How did this happen?" If I am early it is usually because I missed some change to the schedule.

CT: Reid Anderson just cast you in the role of Tatiana in John Cranko's Eugene Onegin. What is your approach when you are auditioning for visiting choreographers/stagers?

AF: Being open! Attention to detail. No adjusting the outfit. I just try to do what I believe they are asking for and trust that if I am wrong, they will tell me. You have to make a decision and not be tentative. So many people are closed?.

CT: And your approach to the role of Tatiana in particular?

AF: Well, I knew it was an acting role, and the main objective was to realize whom I am dancing with and what our relationship is. Should I look him in the eyes? But for this particular role, she has no passion for her husband. I decided to look at my husband [partner] with sweet and loving eyes, but not passionately or wantingly. Onegin is not a ballet for ballet's sake-it tells a story. I knew that might be the most important thing to keep in mind.

CT: And how did moving to the stage change your approach?

AF: I was thrilled, really. And the whole company was so excited to have this ballet, so that made it all the more special for me. Having a canopy bed to sit on and dream instead of chairs truly helped! That definitely helped further mold the character. Tatiana is supposed to know her bedroom inside and out, and I kept knocking into this pedestal when we first got onstage. It was just so funny and a little embarrassing, but soon I did get to know the space inside and out.

CT: And this was your first performance with Houston Ballet?

AF: Yes, which was incredible because you know that I adore acting ballets. To be able to show myself fully right away was so important to me. I have been quite fortunate.

CT: You are known for your intense acting ability; how does that factor in when you are choosing what to wear in rehearsal for different roles?

AF: When something is classical-definitely pink tights. For contemporary work, I tend to wear short and long unitards more. And I have stopped wearing skirts. I used to always borrow wrap skirts and no one here wears them. In fact, no one wears any junk. Not even the men! When I auditioned I had this big fringy wrap on and I was the only one. And when I came back at the start of summer to audition for Onegin, I didn't know that I would be doing more than just class. So I wore a black leotard and black shorts that had a zipper on the back pocket. It was such a bad choice because the zipper was an obstacle my partner had to avoid. And luckily he did, or I would have felt so bad! I always try to take partnering into consideration when getting ready for rehearsal.

CT: Does your clothing ever help you get into character? Is it different for Sugar Plum versus Anna Karenina?

AF: For sure. I have a tutu, a romantic tutu, and an empire waist dress checked out to me, and if a role I am doing has a costume like any of those, I wear it. I think it is so important for partnering, and also to find those little details? like maybe your character plays with the end of her skirt or holds it out for a certain step. Those things can really add a lot, so it is worth taking the time to explore them in the studio.

And also there are colors. For Carmen it is always bold colors for me, whereas normally for White Swan I would prefer to be in something pale and light. Color isn't everything, but it sets a mood for me. And never black sheer for Sugar Plum!

CT: What has been your favorite role so far?

AF: It's hard to pick just one. I love the Russian dramas and Madame Butterfly. When I was dancing Anna Karenina I was really at a growing point and was as sincere as I could possibly be. And then during Madame, I was able to feel so free. There was no worry of fouettes, just a ton of partnering-and although technical, it allowed for me to really go there. Always, there seems to be a tragic end for the heroine. But in Onegin, Tatiana doesn't kill herself; she is the one standing at the end. I'd never done a role like that before. She tells him to get out and stands there strong, and only then can she take her last breath.

CT: And what role are you looking forward to most?

AF: The future holds so many possibilities. I am looking forward to working with Christopher Bruce and also Macmillan's Gloria, which is gorgeous. I don't know what I will be cast in, but it is exciting to think of how much my rep is expanding.

CT: How do you incorporate a little bit of your style from outside the studio into the studio?

AF: I would say with leotards I tend to play it a little safe, you know. A fun wrap might sass something up. I think my style outside is classic, but I still always try to have some fun. I might wear jeans, but always with a heel and maybe a glittery top, maybe not. And for the studio, I think I have the same sort of thing going on. I might put a little braid in my hair before I twist it all up.

CT: Who are your style icons?

AF: Audrey Hepburn was so classic and feminine. I always like things that are feminine. I don't wear grunge, it just wouldn't work on me. I also love that about Sarah Jessica Parker. She might be in something simple, but then there is just that little touch?a little something surprising and cool.

CT: What is the best costume you have ever worn?

AF: I think I would have to say Kathy Posin's Sheherezade. I got to go to Victoria's Secret and pick out the perfect bra. Then the costume shop bejeweled it like you wouldn't believe. And the pants were the perfect length. They were harem pants and the poofs were not too big or small. The headpiece came to a V on my forehead, which I always think is a flattering line. I just felt fierce!

CT: What was the worst?

AF: The Sugar Plum tutu for Milwaukee's production of the Nutcracker. It felt like you had a diaper on! It was too full on the hips and the back and the circumference was so big that when you stood in b-plus your legs were about two inches long, the front tipped down so much. The headpiece was like a Vegas showgirl gone wrong or the Statue of Liberty. And every guy would complain when they would put you on their shoulder.

I didn't even have to think twice about that.

CT: I have seen the evidence, so I will vouch for you. Allow me to shift gears now and ask you what knowledge you would like to pass on to younger dancers?

AF: This is a big one: Never act like a diva! It is so unflattering. Patricia McBride was always a role model for me. She was so gracious and lovely to everyone she encountered. I was so taken by it, I knew that was how I wanted to be.

So much can be learned by watching ballet videos. I wasn't a bunhead early on, but now I use them, even to just look at port de bras. It is such an important tool. In that same vein, I would advise to be aware of yourself in the mirror. Study how you look and how you express yourself-do you know how to look cute, or serious?

In class, be honest and learn how to make the right lines for your body. Work correctly, but also know there will come a time when you'll have to do what you can with your body. Class is also an important time to explore phrasing. Change the rhythms up once in awhile to challenge yourself and make the combination your own. And don't forget to sell your forte!

Keep your ribbons in. I use physical therapy tape to keep mine secure when I tuck them in. Don't go on stage worrying that they are going to come out.

Last, but not least, don't blend in. There is such a tendency to be like your friends. But professional life is not about that and it isn't always comfortable. You have to put yourself out there and stand out, in a good way. And don't forget to wear clothes that flatter your body.

CT: Amen! And what would be your favorite leotard to flatter your body?

AF: You have made me so many?.but definitely that skinny racerback [Sport Slender]. I love things to be tight up top and double-lined--it just fits me so well. I get many compliments on my shrug back [Shrug Off] and for all the sheer ones [Sheer Power]. I do have a few sheer leotards-maybe I don't play it safe with the leotards like I thought. Any style that makes me feel secure and held in is my new favorite.

The views expressed in this interview are those of the interviewee and do not represent the views of, and should not be attributed to, LOLAstretch.

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