"I like to teach kids, to see them learn not just in their bodies, but in their hearts and minds," said Sharee Lane, assistant director of the Ballet West Conservatory at the University of Utah. "Many talented young dance students used to leave town to study, but they can now get as good training right here."
For 20 years or more, Ballet West has sought to establish a viable school to feed the company. The present incarnation seems to be the most promising yet, with students beginning to move up as aspirants.Lane respects the tactics of John Hart, artistic director of the Ballet West Conservatory. "He listens to what we teachers have to say, and he communicates. He knows he must be a presence at the conservatory, around at important moments; he watches classes and rehearsals, he goes to every audition, the girls see him and respect him."
She too believes that a director must communicate and be present, and she's always there. "I know each girl's name, her parents' names, the school she goes to. I always wanted my teacher to be that interested in me," she said. "I teach every class, or visit, and before a program, I never miss a rehearsal."
During the past 15 years, Denise Schultze and Louis Godfrey, Joy Ludlow and Elaine Thomas all tried their hands at directing a Ballet West school, sometimes with Willam Christensen (founder of Ballet West) in the background, sometimes not. Usually failure resulted from clashing egos. Through much of this, Lane was on faculty, quietly observing and forming opinions.
"Our low point was down in the Dinwoodey building, such a depressing place," she said. Emerging from the chaos following that school's demise, Lane assisted Hart in forming a Ballet West Conservatory `project' at the University, in the new Alice Sheets Marriott Center for Dance.
It's worked out well, with 35 students in the first year, 50 last year, and 110 dancers in special summer classes. She cited exceptional help from Fred Oswald, program manager of fine arts for the Division of Continuing Education, the school's sponsor, and from Barbara Hamblin, chair of ballet.
"For the first time, I have felt that ego is not involved. The important thing is training these kids with the best professional standards, and you get loyalty by giving loyalty," she said.
Lane feels fortunate to work every day with people of insight. "There's Attila Ficzere who brings the perspective of having grown up in Hungary. Conrad Ludlow has had the Balanchine training, Barbie Hamblin knows all about Mr. C's era. I keep an open mind, eyes and ears every day," she said.
"From the Ballet West staff, Marrie Hadfield is a wonderful supporter. She has done the Ballet for Children programs on her own time, and Sondra Sugai works tirelessly on special projects."
Sharee Lane was born in Corpus Christi, Texas, where her father was a doctor and her mother, a nurse, and she didn't take up dancing until the relatively late age of 14.
"I always did art and painting. My father wanted me to be a medical illustrator, and my mother wanted me to be a pianist," said the thin, striking brunette. "My mother accommodated to everyone's hobbies and interests. My two brothers liked sailing, and my sister loved horses, so we had a hitch on the car for the various trailers! But I loved movement and ballerinas, and finally talked her into letting me quit piano, if I would take dance."
Knowing she had a great deal to make up, during 7th and 8th grade she observed a Spartan routine. "I went to school all day, went home and ate at 3:40, then to the studio to dance with whoever was there, doing plies with the kids, whatever I could pick up. At 10 o'clock I went home to bed."
Just as she turned 16, she was invited to dance on scholarship at Robert Joffrey's school in New York. "I lived with a family there and attended the Professional Childrens' School from 8:30 a.m. to noon, then went over to Joffrey from one to eight p.m., every day for about a year," she said.
Next Sharee was invited by Frederick Franklin to join the National School of Ballet, on full academic and dance scholarship, so she finished high school in Washington, D.C. "There were 10 girls in one big house, with a house mother," she said. "We had fabulous cultural opportunities in the peripheral arts, and Franklin used us to fill out corps with his National Ballet. But we had no social life, in fact I didn't date until I was 26!"
Lane next joined Eliot Feld's first company as an apprentice, but suffered a "terrible injury," tearing her Achilles tendon. She's grateful that her doctor could treat her without surgery, but eight months of therapy were required to regain usage.
"While I was home in Corpus Christi recuperating, I had to decide whether to go to college as my father wanted, or continue dancing," she said. "I had had enough of the East after four years; New York forced me grow up too fast.
"But I knew I must dance, and I had good reports about Utah from friends I trusted. I came here and started college, and worked with Mattlyn Gavers. In fact, I and Vivyenne Cockburn had the first Ballet Guild scholarships." In 1971 Lane went into the company, just before its European tour.
"I had great training from Mr. C. and Bene Arnold, their hard work with me prepared me for what I am doing today," she said. "There was honesty between us all, they expected the best and I gave it. I try always to deal with others as they dealt with me. That's where I learned how vital it is to give approval at classes and performances, to look after the dancers and make them feel important."
Sharee stayed with the company until 1978, moving up from apprentice to corps member, demi-soloist, and soloist. "My favorite role was as the girl in the drunken couple in Mr. C's `Filling Station.' I used to rub a little Cutty Sark whiskey behind my ears to get into the mood for that, we believed in method acting," she laughed. "A frequent partner was Jay Jolley, who went on to dance with London's Royal Ballet, and we especially liked doing the gossips in `Le Fille mal garde.' "
Like many others, Lane left Ballet West when Bruce Marks became artistic director. "We did not get along," she said quite candidly. "It's a new leader's option to pursue his own pattern, but we could never communicate as I felt we should.
"My experiences then reinforced my knowledge that people in the arts are so sensitive, and my mother always reminds me of that. `Ginnie is in tears, she thinks you don't like her because you corrected her,' she might tell me. "Then I must remember to say, I love you or I wouldn't correct you, and give her four hugs a day!"
After she left Ballet West Sharee danced jazz and tap at the Osmond Studio in Orem, during its heyday, and taught for Mr. C in his academy at the Fortuna School. She also taught at Ballet West's Snowmass School in Colorado 1982-88, which led to her most glamourous encounter - coaching John Travolta for his dancing in "Staying Alive."
"Travolta was in Snowmass, working in the theater," she said. "He walked past the tent and saw me teaching jazz, and asked if I would take a leave of absence and come to Los Angeles to help him with his role. It was really a challenge to get him ready - the schedule was tight, and he was self-indulgent. And I didn't like the Los Angeles lifestyle, so I gladly returned to Utah."
Though she teaches five to eight hours a day during the school year, Lane likes working on the administrative side, too. "Nothing is life and death to me any more, I'm not paranoid or anxiety-ridden if things don't happen immediately," she said.
She draws great strength from her mother, who moved here from Corpus Christi after her husband's death, and now does volunteer work with the Indians, the homeless, and St. Mark's hospital. "My mother is accepting, compassionate and generous," she said. "I was gone so much when I was young, and we are making up for lost time.
"I'm the happiest now that I've ever been," Lane concluded. "I have been in Salt Lake City for 21 years, and this is my home."