Also this issue:

Fall guide
-Debra Auspitz

Feeding Frenzy
An off-Broadway hit about the restaurant biz comes to Philadelphia -- and hits close to home.
-Toby Zinman photos by michael t. regan

Bittersweet Inspiration
Soul/R&B singer Vivian Green draws power from the pain.
-A.D. Amorosi Photo By Michael T. Regan

Wherever, Whenever
A peek behind the scenes at the dream world of Cirque du Soleil's Varekai.
-Deni Kasrel

Gearing Up: James Valenti
-Debra Auspitz

Gearing Up: Sandra Blakely
-Debra Auspitz

Down To Zero
Bad-boy artist Neil Bernstein tries to do some good in a gallery near Ground Zero.
-David Warner photo by Jay Muhlin“

Scene Change
A look at nightspots, restaurants and shopping destinations set to open this fall.
-A.D. Amorosi Photo By Michael T. Regan

September 19-25, 2002

cover story

Gearing Up: Tara Keating

by Debra Auspitz

Tara Keating is a member of the Pennsylvania Ballet’s corps, but she’s far from the ballet-world equivalent of a back-up dancer. A Juilliard grad, Keating shines in her group and solo work with the ballet. The PA Ballet’s demanding schedule keeps Keating, er, on her toes, but in her spare time she is also involved with Phrenic New Ballet, a popular newer addition to the Philly dance scene that was founded by co-corps members Matthew Neenan, Amanda Miller and Christine Cox. While Keating mostly does traditional work with the ballet, she gets a chance to try brand-new, more experimental pieces with Phrenic. Coming up next at the ballet is the annual presentation of classic works by George Balanchine, running Oct. 24-27.

What's going on behind the curtain before a PA Ballet show

We have a warm-up class about an hour and a half before the show. Then we have 45 minutes [to] go back up to the dressing room and finish our makeup. I always like to go on stage about 10 minutes before we actually start; the curtain is down so we can try a few things out. I like to get down there a little early. Some people really wait until the last minute.

On preparing to perform with Phrenic

There is a little bit of a difference [between the ballet and Phrenic]. For example, when I performed with [Phrenic] last summer, all three works were new works, and that in itself is different from a Balanchine piece with the company -- it's a different kind of energy. But we do the same kind of rituals before [a show], we have a warm-up class and then we have half an hour to get ready and make sure that we're warm. But there's a different vibe in each place.