LINES Ballet’s Amanda Smith: “I Love Taking Risks Onstage”

You were with Dance Theatre of Harlem for seven years before joining LINES Ballet this season. What led to the change, and what drew you to LINES?

I had a wonderful career at DTH, but I was ready for something more and wanted to see what else was out there. Growing up in California, LINES and Dance Theatre of Harlem were the two companies that inspired me. There was one woman in particular at LINES, Aesha Ash, who I looked up to greatly; it was wonderful to see a ballerina with the same skin tone as me. I started following the company and how Alonzo works with his dancers, and I appreciated how all of his notes were so individualized. I’ve never seen a company that is so free onstage.

What has the transition been like?

Alonzo’s creative process is so detail-oriented. He’ll take his shoes off, come into the center of the room, and we all surround and wait for him to do the first step. It’s beautiful to watch, because it just flows out of him. And he only shows it once—you’ve got to catch all the little details, because he does so much in one phrase. For me it’s been a bit challenging to grasp everything right then and there—you end up kind of improv-ing. But it’s teaching me to just go for things and not second-guess myself.

What do you enjoy more, performing or being in the studio?

Definitely performing. As I’ve gotten older, I’ve learned to like the nitty-gritty work in rehearsals. But performing is my first love.

In reaching the top, how much was talent and how much was sweat?

A massive portion of it is sweat—the blood, the tears, the hard work. The talent has always been there, but it only gets you so far. The process is never-ending, and you’re always learning and growing. The moment you think “I’ve made it,” there’s nowhere else to go.

Do you find freedom or pressure in creating new roles?

Freedom, because it’s yours. I like to do character study and dive into what the meaning of the work is for me, personally. Like, Who is this person, what does she represent, and how does she interact with others onstage? I find that exciting.

What would you say is the hallmark of your dancing?

I love taking risks onstage—I like to dance as if it’s my last time dancing. If I practice a triple pirouette in rehearsal, I’ll try for more during a show. I give my all and leave it all on the stage. Some dancers at DTH used to call it the “Amanda Special.”

You graduated with a BFA in dance from SUNY Purchase. What fueled your decision to go to college?

I wanted to be educated and experience college life. Those four years were very necessary for me. I learned a lot that I think I either wouldn’t have learned or would have learned the hard way out in the real world. I made a lot of friends there, and it really solidified that I wanted to do this for a career and prepared me.

To whom or to what would you attribute your success?

First and foremost, God—I would not be here without Him putting this purpose within me. I had a teacher, named Charis Moses, who saw something in me when I was around 10. She took me under her wing, and I’m grateful to her for bringing out my best. I also had a coach named Shea Swearingen Hazelaar from my competitive dance team in high school, because I was also doing jazz, lyrical, hip hop, modern, and contemporary. She helped me to be fearless and versatile. Larry Rosenberg, Helen Pickett, and Virginia Johnson helped shape me and influenced my career. And, of course, having the support of my parents.

What don’t people know about you?

I’ve always wanted to be a broadcast journalist. I started a minor in journalism in college, but my dance schedule took up too much time. But I really like writing and reporting. I see myself interviewing people on the red carpet, reporting for E! News. I also want to go on Broadway one day, and see myself acting in movies or a television series.

Of your repertoire, which ballets were the hardest to learn and perform?

At DTH, Allegro Brillante. Once I got it, it was exciting and fun, but at first it was very scary. I felt a lot of pressure for our first show and wanted to do it justice. Also, William Forsythe’s Blake Works, because it’s so incredibly fast. It took me a while to get the speediness of the feet and legs while also being very clear.

At LINES, I would say Alonzo’s Deep River. I have to pace myself, because it’s very heavy towards the end. I’m still working on keeping up that big energy and expansiveness when I start to get tired.

What has been one of the biggest challenges in your career, and how did you get through it?

After college, I first danced with North Carolina Dance Theatre [now Charlotte Ballet] and then moved to New York without a job. For about a year I was going to auditions, but companies didn’t have spots. I auditioned for DTH a few times but didn’t get in. It was hard to stay in good spirits. My dad would tell me it’s all about timing, so I tried to keep my head up. I had to trust the process. And sure enough, eventually Virginia Johnson [DTH’s artistic director at the time]  called me and asked me to come learn a few things from the rep. I got the job quickly after that.

What advice would you give to young dancers who are aspiring to become professionals?

There will be a lot of distractions within this career, but you have to keep your eyes on the prize, like laser beams. You have to know what you want, you have to visualize what you want, and keep moving in that direction. As long as it continues to make you happy, keep going. It’s a windy road, but it’s always going forward.