Getting in shape for the NUTCRACKER
By Eva Kahn
When Morgan Stillman takes to the stage, he is as gentle as he is fierce. At times, he melts into the floor, and at others, he flies high above it. These contrasting qualities are not only a feat of artistry, but showcase his incredible strength.
Before he moved to Austin three years ago, Stillman got his certification in teaching Pilates* while dancing with Nevada Ballet Theater in Las Vegas. He is now a full-time dancer with Ballet Austin and teaches Pilates reformer classes at the Butler Center for Dance and Fitness.
Not all dancers are gym rats, but as the repertory for dance companies today becomes more and more varied, dancers in turn have to find ways to hone their strength to become as versatile as possible. Stillman does pilates nearly every day as a way to cross-train, find imbalances, prevent injuries, and heal after many hours in the dance studio.
We asked Stillman to share with us his daily fitness routine and how it changes during the holiday season to meet the demands of Ballet Austin’s NUTCRACKER.
*During World War I, while he was interned by the British as a German alien, Joseph Pilates invented Pilates, a physical fitness and conditioning method. While working as a nurse, he experimented with the springs on hospital beds to create the Pilates Reformer, an exercise machine that uses springs and bodyweight as resistance.
Before any performance, there is a long period of studio rehearsals. Do you have a routine that helps you warm up, cool down, and stay fit?
“I like to do a pilates warm up before a ballet warm up so that I can really focus on what I need. In ballet, you’re trying to think of the combination. You have to make it happen even if your body isn’t ready to do that or can do that. Pilates can prepare you to make that happen, to strengthen those muscles you need, and then you can go into class. If I have a long break after class, I’ll go into the pilates room to warm up. And then I’ll be ready for rehearsal.
“Usually Fridays, when we’re done with rehearsal, I’ll go up to the pilates room because there’s no one in there, and I’ll take an hour to stretch and do restorative exercises. If I have a certain muscle that’s tight or I’m feeling a certain weakness that week, I’ll focus on stretching or strengthening that out.”
Not only does the Nutcracker call for impeccable ballet technique, but you spend all of November and December rehearsing and performing the same few roles. During these months, do you change your daily routine ?
“During the studio rehearsal process I’ll pretty much stick the same, so I’ll do cardio 6 days a week and strength training 5 days a week. I try to do pilates at least 4 to 5 days a week. When we’re at the theater, I usually don’t do cardio or strength training if I’m going to perform, especially if we’re having two shows, but I still try to fit in some pilates. I typically still teach a few classes even while performing, so I’ll take some time after teaching to stretch out, focus on what I need to strengthen and what I need to do for that day.”
When you are rehearsing a role, how do you find a balance between the artistry and athleticism?
“This week we just started running the Grand Pas de Deux from the beginning, without stopping for notes, and it’s really hard by the end. The most important thing is first, to get through it, because I can’t stop on stage, no matter how much I want to. Second is the artistry, because even if I’m not hitting every position perfectly, the audience wants to see a performance and they want to see my character. I think the artistry is very important but I need to keep up the stamina so that I can show the artistry. Otherwise I’m just going to look exhausted. That’s where cross training helps with cardio.”
What are your go-to exercises for cross training?
“I used to do more running but it started to bother my joints because we already do so much jumping in ballet. I still run 4 miles once a week on Sundays, and the other five days, I’ll do stair-stepper or sometimes I’ll bike. The biking is nicer on my joints and the stair stepper isn’t quite as impactful. I bike to work almost every day because I get here early to teach.”
Between rehearsing, performing, and staying fit, how do you find time to also teach pilates?
“I make my own pilates schedule so I’m allowed to ask for whichever day I want off. I really like teaching — it’s nice to clear the headspace before or after rehearsals. I usually teach in the mornings and then I’m ready to come down to class. Today I had class, and then I had a two hour break, so I taught a private pilates class, and then I did pilates myself to warm up again for rehearsal, and then went to rehearsal.”
Do you think dancers, specifically male dancers, get enough recognition as athletes?
“I do think many people don’t realize how difficult it is to be a male ballet dancer. We’re not on pointe — I would never want to dance on pointe, that sounds really hard. But having the strength to support a partner is difficult. You have to play with each person’s weight — you have to find how to work with different types of people — men or women, whoever you’re supporting — and it takes a lot of strength in your upper body, core, and legs to be lifting them.
“The hard part is making it look good, and not making it look like a struggle. As an athlete you can have a grunty, scary face on, but you can’t do that on stage when you’re trying to look graceful.”
