Sublime

Establishing and keeping a routine can be even more important than having a lot of time. Inertia is the death of creativity. You have to stay in the groove. When you get out of the groove, you start to dread the work, because you know it’s going to suck for a while—it’s going to suck until you get back into the flow.

Simply by letting my body move me instead of trying to control it, fascinating movement and useful insights would emerge. I felt the expansiveness of my own vocabulary as a dancer, rather than wondering if I could come up with one more evocative or unusual movement in the studio.

One night, in Phantom, I had to cover two roles in the show at the same time. One role was the confidant with a painted white face and bright pink cheeks, etc. The other role was a Christine Daaé double in the white negligee gown. I had no time to paint my full face to perform the confidant while doing the double track so I just painted half of my

Begin with abrupt movement. This is sharp, faster than you can think. Try to surprise yourself. Explore abrupt actions—a slice, kick, or jerk. • If you feel yourself starting to pattern your movement, pause. Abrupt is unpredictable—that’s its charge. • Now explore low-energy abrupt. How little energy can you use and still create abrupt movement? •

The person who makes something today isn’t the same person who returns to the work tomorrow.

Argentinian pianist Martha Argerich.

She was cast as the understudy to the star, Laura Bell Bundy, in the off-Broadway musical Ruthless!