Behind The Curtain is a unique opportunity to get exclusive insight into the inner workings of Malashock Dance performances, programs, and events through first-person accounts from those that make them happen. From performers and choreographers to directors, producers, and beyond, our varied cast of contributors will provide an entertaining insiders look at what happens "behind the scenes" at Malashock Dance.

Malashock Company dancer and Malashock/RAW2: STRIPPED performer Blythe Barton talks to us about everything dance -

How long have you been with Malashock Dance?

I was first introduced to Malashock Dance in the 2008 Summer Workshop. Starting 2009, I apprenticed for one year before joining the company in the Summer of 2010.

What was name of your first dance concert with Malashock Dance?

My first concert with Malashock Dance was ‘Surface Tension’ in the fall of 2009 in Michael Mizerany’s Dance, “Wayard Glances”. “Tethered” was created for this concert. Right from the start, I was pushed as a physical dancer, emotional performer, and technical acrobat.

Do you have any favorite MD roles or pieces?

I loved some of the sections from ‘Shadow of Mercy’. I really enjoy character roles and the music of Leonard Cohen has amazing depth and inspiration for dance.

You are in 2 of the 3 pieces in Malashock/RAW2: Stripped. Do you have to do any amount of cross-training or additional training besides company class and rehearsal?

I take class with several dance teachers in addition to Malashock’s company class. I also rehearse and teach with other dance companies. All in all, I spend about 8 hours each day, moving around in a studio.

In Piece of Work, you portray a very sympathetic, yet unstable, character. What, if any, research did you do with regard to preparing for the role?

I have a very close family friend with schizophrenia and am intrigued by his unusual mental capacity and the difficulty that he has focusing on a single train of thought. Along these lines, I researched several videos of similar conditions where actions and reactions come and go quickly. With John Malashock’s direction, I was able to hone into this instability and unexpected nature of the choreography. John talked a lot about a bird-like quality of movement, to keep movements impulsive and unpredictable.

You were asked to sing, albeit badly, for your solo in Piece of Work. Did you feel self-conscious or uncomfortable?

Long ago, I came to accept that my level of vocal talent is zero to none. The character nature of this dance freed me of my tendency to be self-conscious about my singing. I could simply vocalize as the character and not as Blythe. When John first brought up the idea of singing, I made sure that “sounding good” was not part of his artistic vision.

You were also the costume designer for Piece of Work. Is costume design something you have interest in or was this a one time only event?

I have done quite a bit of costume design for my own choreography and enjoy the challenge of find items that fit with the intention of the dance and are suitable for the range of movement in the choreography. I was excited to take on the task of costuming ‘Piece of Work’, to make the characters distinct, yet relatable. The somber and neutral palate allows audience members to paint and project their own experiences.

Lastly, if you could describe Malashock/RAW2 for someone who has never seen Malashock Dance (or modern dance), what would you say?

Malashock/RAW2 is a diverse collection of movement ranging from staccato and sculptural, to fluid and sensual, to athletic and lithe. This concert pushes the boundaries of one’s capacity for technical dancing, yet at the same time presents very real and personable characters. To audience member: Come with an open mind, an open heart, and open eyes - don’t blink you might miss something.