Some people seem to be born to do what they do. Jenny Fitzpatrick is one of those people. As founder and artistic director of Blackbird Dance Theatre, she has had the opportunity to help her students “take flight” at her Lansdowne studio, which celebrates its 10th anniversary this month.
Drawing on decades of performing arts experience, Fitzpatrick offers creative movement classes for all ages and skill levels and provides a supportive environment where students can realize and develop their talents. On weeknights when classes are in session, the reception area is abuzz with chitchat and people come and go with easy familiarity. Many students have been coming to the studio for years, and Fitzpatrick believes the strong, supportive community she has created is what makes Blackbird Dance Theatre special.
“My goal is to help nurture their education, creativity and talent in the classroom, on stage and in life,” she said.
Hailing from Scottsvillle, Kentucky, Fitzpatrick began her dance training as a young child, first performing at age five. Her long list of accomplishments include teaching at the Burbank School of Ballet in Los Angeles, serving as a guest instructor at Transylvania University, and education director and associate producer at Woodford Theatre in Versailles, Kentucky. She has also been involved with the Kentucky Conservatory Theatre and Lexington Children’s Theater, in addition to filling numerous other roles across multiple productions.
Last year when the pandemic threatened to close Blackbird Dance Theatre, a group of devoted parents stepped up to save the place where many of their children have grown up. In the words of one parent, “[The pandemic] has been a hardship for this amazing company, and we needed to pitch in to help to see it persist.”
Their fundraising and marketing efforts managed to keep the studio afloat – at least for now. Fitzpatrick said she is incredibly grateful to have a second chance, but at the same time, she understands much work remains to ensure the performing arts community gets the support it needs to thrive.
For her, that means more financial support from the city of Lexington, extended hours for performance spaces, more community support and greater awareness of the challenges the arts world is facing in a post-pandemic world.
“I would like to change the commerce of dance,” she said. “The industry will lose so much in the end if we don’t protect quality. Dance can be many things, but true artistry takes time, patience, observation and practice. It isn’t about mass production or capitalism or instant gratification.
“The ability to find one’s place as an artist is being squelched – and what a tragedy,” she added. “I should probably go write a show about it.”
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Fitzpatrick as Tamora in Shakespeare’s “Titus Andronicus." Photo furnished
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Dancers from the studio’s “Lend Me Your Ears” performance, an adaptation of Shakespeare’s “Julius Caesar” and “Antony and Cleopatra.” Photo by Paul Martin
Jenny Fitzpatrick recently took a few moments to answer some questions from Smiley Pete reporter Michelle Aiello.
Can you share your earliest memory of dance and how it made you feel? It was my first performance at 5 years old, and it was a tap dance with a pink balloon. It was early spring, and I remember my mom took me outside to take a picture before we left for the theater. To this day, I still love spring and the smell of new beginnings.
As a choreographer, are you drawn to a certain movement vocabulary or style? I try new things all the time. However, I think choreographers have a particular mark or style in their movement that always shows up. It’s likely due to their capacity as an athlete and the literal way their vessel moves through space. So I suppose the answer is, yes, we try new things, but the imprint remains the same.
What were some pop culture performances or artists who had the biggest influence on you growing up? Without a doubt, Michael Jackson is my biggest pop-culture influence. I was in awe of him from as early as I can remember, and I still find myself in a silhouette he created from time to time. But more than any pop culture icon, my biggest influence is old films. My parents watched a lot of them, and I was madly in love with Charlie Chaplin and James ‘Jimmy’ Stewart. It was the physical comedy that had my attention – the way they moved and how the musical score complemented that.
How have you continued to explore creative outlets in the face of pandemic restrictions? During the height of the pandemic, I probably should have taken a break, but I just couldn’t. I don’t know why. Blackbird Dance Theatre performed in masks three times. One of our productions included a giant installation made of windows to protect the audience from dancers. It was beautifully designed by Hannah Neff and a brilliant remedy to theater protocols.
Describe your process when choreographing or building a work. I start with character and story. Then comes sound and color landscape. I paint a lot, and I like to dance like I’m brush stroking. Then I put those images into words, and then, finally, I dance those words. Mapping that movement is so much fun. I am a numerical choreographer, meaning I love stage picture and texture after all of the exploratory business has reached its peak. In the rehearsal room I generally have a very clear vision and like to make as many beautiful pictures and fat brush strokes as possible. So I guess my process goes abstract to literal and then back to abstract again. I remain open to possibilities until the curtain opens. I like to build something massive and then cut away for light in the aftermath.
You have worked with so many artists in Lexington and beyond. What have been some of your favorite partnerships? Some of my most rewarding partnerships have been with Tom Willis [lighting designer] and Duane Lundy [music producer]. They believed in me when I didn’t believe in myself. They gave helpful advice when I needed it, and they continue to nurture our collaborative art. And my beautiful company [Melissa Ajayi, Roya Ramezankhani, Hannah Neff, Claire Rose] and the many Blackbirds who have spent time in the studio creating something from nothing.
Name one thing you’re proud of. I am proud of how kind I have become. I have overcome a fair amount of grief and rage in the last 10 years, and I’m grateful for that. It certainly feeds my work in a way I could never accomplish otherwise.
BLACKBIRD DANCE THEATRE
160 Moore Drive • Lexington, Ky • (859) 338-4234 • www.blackbirddancetheatre.com