March 10, 2025 • 15 mins
The UK’s most celebrated Hip-Hop dance theater company, Boy Blue, presents the U.S. premiere of Cycles at Lincoln Center’s Rose Theater, March 27, 28 & 29 at 7:30 pm. Now in the 24th year of their professional partnership, our guests are Co-Founders and Co-Artistic Directors of Boy Blue, Choreographer Kenrick Sandy, MBE, and Composer Michael Asante, MBE. For more, visit boyblue.co.uk and lincolncenter.org.
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Episode Transcript
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Speaker 1 (00:01):
Welcome to get connected with Nina del Rio, a weekly
conversation about fitness, health and happenings in our community on
one oh six point seven light FM.
Speaker 2 (00:12):
Welcome and thanks for listening to get connected with a
preview of the US premiere of the UK's most celebrated
hip hop dance theater company, Boy Blue, presenting Cycles at
Lincoln Center's Rose Theater Thursday March twenty seventh through Saturday
March twenty ninth. Shows are seven thirty pm. I'm very
pleased to welcome choreographer Kendrick Sandy and composer Michael Esante
(00:33):
to the show. They are the co founders and co
artistic directors of Boy Blue. Gentlemen, thank you for being
on the show.
Speaker 3 (00:38):
Thank you for having us.
Speaker 4 (00:40):
Hey.
Speaker 2 (00:41):
You can find out more about the company at boy
Blue dot co dot uk and more about the performances,
including tickets for Cycles at Lincolncenter dot org. So you
are a company that has been at work since two
thousand and one, Kenrick and Michael, but for many of
our audiences this will be an introduction, right, So let's
start I think talking about the show. What will you
(01:03):
bring to Lincoln Center? What should the audience expect from
Boy Blue cycles.
Speaker 5 (01:08):
I think the one thing about cycles that we tried
to create was one audience gets to see something that
the audio audience never gets to see because it would
change and it will ebb and flow in relation to
where the dancers are at at the time.
Speaker 4 (01:25):
And we've created.
Speaker 5 (01:26):
Milestones, but those milestones U five Freestyle will take us
into those next sections. And that was the idea around
cycles as a concept. The idea of a cycle became
our algorithm, the thing that we always tapped into as
part of how we told this journey of dance, and
(01:47):
it was to kind of focus on the root of
what hip hop is and hip hop has to be
as an element as a style and embracing more and
more the happening the moment been into the idea of
what our cycles in our lives, the idea of night, day, seasons,
the moon and you know.
Speaker 4 (02:08):
The tide stuff that we're always seeing.
Speaker 5 (02:11):
How does things grow, life, death, The idea of constant
movement and the notion that the world always moves in
these cycles, constantly pushing us forward, and I think more
than anything else, that's what we try to create as
a piece of art with cycles, but with a hip
hop sensibility surrounding the route, the groove, the vibe and
(02:32):
the dance.
Speaker 2 (02:33):
Are you always a company that works with improvisation and
kind of letting things ebb and flow or is it
often much more sort of you know, note to note
line to line.
Speaker 5 (02:43):
Yeah, narrative is a usual key that we usually follow,
but it was purposeful on this time round to not
focus on a direct narrative and the energy and the
moment to be the main aspect that the audience would see.
Speaker 4 (03:00):
Experience.
Speaker 5 (03:00):
I think it's more experience, so yeah, I mean, generally,
the artist's skill is always going to be unique to
what you might work with in terms of a choreographic
style or energy. But more than anything else, this one's
the type of dances we picked were really focused on
their own artistry from a freestyle.
Speaker 4 (03:20):
Point of view.
Speaker 2 (03:22):
Let's go back a little bit in your history. So
Boy Blue has been around since two thousand and one.
It's you know, you have a long history. Can you
talk about your initial meeting and founding this company?
Speaker 3 (03:34):
So me and Mikey have nine inchelp since we was
twelve years old. We went to the same secondary school,
Canon Palmer in East London and at that time, I
had no interest in dance. So from a performing arts
point of view, it was all Mikey or Mikey. He
was doing the singing, he was in the dancing, he
was in the acting. Me I was doing my art.
(03:56):
I was doing some artwork, and I was doing playing basketball,
playing football. And then one famous place that we have
to give love to is forest Gate Youth Center because
at forest Gate Youth Center they had basketball there, but
they also had dance and a guy named kat b
was their teaching. So I told Mikey and my brother,
who was also into the dance and stuff, to go
(04:17):
there as I was then going to play basketball downstairs.
I went downstairs, played the basketball, then went upstairs saw
them not dancing, and I thought, oh, this is kind
of cool. They were doing some breaking, so I said, okay,
let me jump on that. So fast forward in the
performance happened. I joined the performance, and now there's a
change in my energy. However, I'm now jumping on the
(04:39):
same frequency as Mikey's already been there, So I'm now
jumping on this dance stuff and I'm getting more hungry
for it. So before Boy Blue, we started a crew
called Matrix started in ninety nine. He was inspired from
the film The Matrix because we're talking about your surroundings
and how you adapt to your surroundings. So we took
on this concept and started to look at our dance ours,
(05:00):
how we moved and then from there, I would say
that is like the seed that then created what was
Boy Blue. However, there was one point where we got
into competitions and we had a crew called KMK, which
was Kenrick, Michael and Kelroy and my brother. So the
three of us came together, went to South London, literally
took over South London. Yeah, with from a competition point
(05:23):
of view, and then it really pushed the energy of
what is boy Blue? On top of that and inside
that and around it you have Mikey's music. So Mikey
then made the choice to basically say, ken I'm not
gonna dance anymore. I'm gonna focus on my music. I
cried and.
Speaker 5 (05:42):
I I've never heard that part.
Speaker 3 (05:47):
I I felt like, oh cool. But the elevation of
what has has been Boy Blue, I would say one
of the biggest choices is Mikey said I'm not going
to dance anymore. Because what it did is it enabled
the understanding of how dance and music can really marinate
and how important music is to the dancer. Yes, you
have music there on the radio, you have it on
(06:10):
a CD backa day CD. Now you can just download it.
But music is such an integral part of what we
do as dancers. We listen to it, we have a
relation to it, we find a frequency, and we die.
We immerse ourselves like it's a swimming pool. So once once,
that then became the fire and the petrol of the company,
(06:31):
both myself and Mike. He kept on pushing. We kept
on pushing. We're having loads of different kids, loads of
different youth, loads of different adults come and joining us.
And now it's coming to twenty five years of what
has become this response. It was the initial response was
and the tenacity and the hunger and the passion to
now being a company a business. This is something from
(06:55):
a UK point of you're unheard of because of how
we have sustained won the company to our brotherhood, stroke,
friendship and free just the change of how UK hip
hop dance has evolved and it's moved in such a
way for us to still be around doing this is
(07:15):
a very very powerful thing.
Speaker 2 (07:17):
I want to talk more about that in just a second,
but lips to remind everybody who we're speaking with. It's
Michael Mikey j Assante, a renowned London born producer and DJ,
and choreographer Kenrick H two O Sandy. Together they are
co founders and co artistic directors of Boy Blue, the
celebrated hip hop dance company based in London and performing
at Lincoln Center very soon March twenty seventh, twenty eighth,
(07:39):
and twenty ninth with the US premiere of Cycles. You
can find out more at Lincolncenter dot org and more
about the company at boy Blue dot co dot UK.
You're listening to get connected on one six point seven
light FM. Amina del Rio and I don't know Kenrick
or Michael, if you want to speak to this as well.
What I was thinking about. You know, you're talking about
starting off in a gym and a rec center and
(08:01):
getting bigger. But also this is a form of dance
that came out of the clubs and so now it's
in these proscenium stages and Lincoln Centers specifically. I know
you can they can have different configurations, but it's it's
a little different in some ways. Can you talk about
performing that in a theater and also the audiences in
those sorts of rooms.
Speaker 4 (08:20):
Do you know what?
Speaker 3 (08:20):
I think what's very interesting is that regardless of whether
it's a theater or in a youth center or old
school cardboard on the floor, it's about interaction, it's about
the community, and that's what it is. We're literally going
to be bringing the community into the theater. We want
to invite the community into this fare and say, listen,
(08:42):
this is yours and this performance that we're giving you
is us honoring to see the route the foundation of
to us, what is hip hop dance and how we
have taken it on board and how we add our
UK seasoning. If this was like a dish, this is
our season and on top of this dish, and we
(09:03):
hope you enjoy the flavors. We hope you enjoy the
smell of it. We hope you enjoy the experience of
what we're trying to do. So, yeah, regardless of it
as a theater, you know what I mean, we want
to place it in that space, but we want to
also make you understand it. It's still a community, it's
still a vibe, it's still home.
Speaker 2 (09:21):
Since you bring up the UK spice. You're in New York,
not for the first time, but this is New York, right,
It's a different it's a bit of a different vibe.
Can you talk about returning to New York it's the
home of hip hop, you know, coming back and sort
of the feeling here, what did anything else?
Speaker 5 (09:37):
Do you feel this sense of honor the notion of
what New York can that of hip hop's seed, what
it gave us. It's a gift, right, and you feel
so very very happy to know that you can honor
and support the continuation of the awesome gift that's been
given to the world of that hip hop. It allows
(09:58):
the idea of interpolation, the idea of sampling, the idea
of yourself being connected and placed inside it for Rick
to then become something else.
Speaker 4 (10:07):
And I think that's what we want to try and do.
Speaker 5 (10:09):
We want to walk in knowing we've created our version
of what the hip hop seed has supported us with it.
So you feel and that it made sense of pride
as a brick coming to the States in general than
the idea of coming to the home. You know, it
just makes it even more potent that you want to
deliver and make.
Speaker 4 (10:28):
Sure that you do a great job. So yeah, we're
excited more than anything else.
Speaker 2 (10:33):
I'm also curious about your dancers training in this form,
rehearsing in this form. But really the training I think
is interesting to think about. Right, there's very sort of
traditional dance and hip hop has its own tradition getting
ready for this show. What goes into it? How long
is the process and how are the dancers feeling about coming.
Speaker 3 (10:52):
So in the process, I think one of the major
things is that we see them as athletes. That's one
of the major things. So we we will do warm ups,
we will do conditioning. It's a full on show. It's
not like forty five second round of a battle. This
is over forty five minutes of dance constant. So it's
(11:14):
about stamina, endurance. It's about not just physical stammining, about
mental stamina with regards to the different divisive tools that
we're using choreographically and also the musicality that we have
to we have to hit be in the visual auditory.
So in that there is a there's a mindset that
we're working with everything called CTA, which is conditioning, transition
(11:36):
and application, which is a process we condition, whether it's
physically or mentally. Then we go for a transition to
explore what it is that we're trying to do. So,
if you're trying to do a move, let's condition the
muscle to be able to do the move. Let's play
with that, and let's apply it to the show. So
that's where the whole process of CTA comes into it.
So it's not just about Okay, you've got you've got
(11:56):
great group and you've got great freestyle, and that's good
because we need that. Oh, you're really good at doing
choreography and you're good at picking it up. Okay, that's
really good, But what about the frequency you've got the
form You not understand the formulas, but it's the frequency,
the intention. What is the pathway are you? How are
you pulling the audience into the space. They start to
(12:18):
understand us about how we create our work. We look
at the free ease, which is education, entertainment, and enlightenment.
So we're looking at how we're educating the audience and
how to use hip hop dance. We're looking at the entertainment.
Everyone loves to see dancer. Let's entertain the audience. But
then with regards to the concept and the energy of
what cycles is we leave the audience or have the
(12:40):
audience leaving enlightened, feeling inspired something something to provoke them
to question it, you know. So, Yeah, the dancers are
going through their pace and we selected them in We
selected them one because of their abilities, but also we
looked at, you know what, the way in the vibe
and the fill of this show. We need people who
vibrate in the particular way, and these lots they vibrate
(13:03):
the process that they went through to make the show.
It was a lot. So we have a lot of
respect and love for them because what they're doing is
they're enabling us. They're trusting our process, which then gives
us more morale to keep on pushing and keep on
provoking the energy of what is what is this? UK
hip hop Dots.
Speaker 2 (13:24):
The shows will be at Lincoln Center Rose Theater March
twenty seven, twenty eighth, and twenty ninth at seven thirty pm.
Tickets are at Lincolncenter dot org. The show is called
Cycles by Boy Blue Boy Blue dot co dot UK. Michael,
anything else you want to add about the show, anything
audience you should know. In addition, I want to talk about.
Speaker 4 (13:41):
The dancers for a second, just a little bit more.
Speaker 5 (13:43):
You know, they are truly something to be I don't know,
celebrated is the best way to describe them. They support
it creating the playlist of this piece because I had
I had always had an envision that the music would
exist before the show began. They consistently allowed us and
allowed us to use their bodies to change and challenge
(14:07):
and ask the question of what the show should say.
So they they were dancing a different show, you know,
they danced a different configuration as to the ideas of
what we needed to do, where the songs needed to go,
and eventually we found the piece together. So truly, people
should come and watch just these fine men and women
(14:28):
who take us to a whole another space and their skills,
like Ken said, as athletes.
Speaker 4 (14:33):
You know, it's just incredible.
Speaker 5 (14:34):
So I'm really excited for everyone and especially New York
to get opportunity to see them.
Speaker 2 (14:40):
It sounds fantastic again. You can find out more about
the show at Lincoln Center dot org. Kenrick, Sandy, and
Michael Esante from Boy Blue thank you for being on
the show. Look forward to seeing it and save travels.
Speaker 3 (14:51):
Thanks very love.
Speaker 1 (14:53):
This has been get connected with Nina del Rio on
one OO six point seven light a FM. The views
and opinions of our guests do not necessarily reflect the
views of the station. If you missed any part of
our show or want to share it, visit our website
for downloads and podcasts at one O six seven lightfm
dot com. Thanks for listening.
Welcome to get connected with Nina del Rio, a weekly
conversation about fitness, health and happenings in our community on
one oh six point seven light FM.
Speaker 2 (00:12):
Welcome and thanks for listening to get connected with a
preview of the US premiere of the UK's most celebrated
hip hop dance theater company, Boy Blue, presenting Cycles at
Lincoln Center's Rose Theater Thursday March twenty seventh through Saturday
March twenty ninth. Shows are seven thirty pm. I'm very
pleased to welcome choreographer Kendrick Sandy and composer Michael Esante
(00:33):
to the show. They are the co founders and co
artistic directors of Boy Blue. Gentlemen, thank you for being
on the show.
Speaker 3 (00:38):
Thank you for having us.
Speaker 4 (00:40):
Hey.
Speaker 2 (00:41):
You can find out more about the company at boy
Blue dot co dot uk and more about the performances,
including tickets for Cycles at Lincolncenter dot org. So you
are a company that has been at work since two
thousand and one, Kenrick and Michael, but for many of
our audiences this will be an introduction, right, So let's
start I think talking about the show. What will you
(01:03):
bring to Lincoln Center? What should the audience expect from
Boy Blue cycles.
Speaker 5 (01:08):
I think the one thing about cycles that we tried
to create was one audience gets to see something that
the audio audience never gets to see because it would
change and it will ebb and flow in relation to
where the dancers are at at the time.
Speaker 4 (01:25):
And we've created.
Speaker 5 (01:26):
Milestones, but those milestones U five Freestyle will take us
into those next sections. And that was the idea around
cycles as a concept. The idea of a cycle became
our algorithm, the thing that we always tapped into as
part of how we told this journey of dance, and
(01:47):
it was to kind of focus on the root of
what hip hop is and hip hop has to be
as an element as a style and embracing more and
more the happening the moment been into the idea of
what our cycles in our lives, the idea of night, day, seasons,
the moon and you know.
Speaker 4 (02:08):
The tide stuff that we're always seeing.
Speaker 5 (02:11):
How does things grow, life, death, The idea of constant
movement and the notion that the world always moves in
these cycles, constantly pushing us forward, and I think more
than anything else, that's what we try to create as
a piece of art with cycles, but with a hip
hop sensibility surrounding the route, the groove, the vibe and
(02:32):
the dance.
Speaker 2 (02:33):
Are you always a company that works with improvisation and
kind of letting things ebb and flow or is it
often much more sort of you know, note to note
line to line.
Speaker 5 (02:43):
Yeah, narrative is a usual key that we usually follow,
but it was purposeful on this time round to not
focus on a direct narrative and the energy and the
moment to be the main aspect that the audience would see.
Speaker 4 (03:00):
Experience.
Speaker 5 (03:00):
I think it's more experience, so yeah, I mean, generally,
the artist's skill is always going to be unique to
what you might work with in terms of a choreographic
style or energy. But more than anything else, this one's
the type of dances we picked were really focused on
their own artistry from a freestyle.
Speaker 4 (03:20):
Point of view.
Speaker 2 (03:22):
Let's go back a little bit in your history. So
Boy Blue has been around since two thousand and one.
It's you know, you have a long history. Can you
talk about your initial meeting and founding this company?
Speaker 3 (03:34):
So me and Mikey have nine inchelp since we was
twelve years old. We went to the same secondary school,
Canon Palmer in East London and at that time, I
had no interest in dance. So from a performing arts
point of view, it was all Mikey or Mikey. He
was doing the singing, he was in the dancing, he
was in the acting. Me I was doing my art.
(03:56):
I was doing some artwork, and I was doing playing basketball,
playing football. And then one famous place that we have
to give love to is forest Gate Youth Center because
at forest Gate Youth Center they had basketball there, but
they also had dance and a guy named kat b
was their teaching. So I told Mikey and my brother,
who was also into the dance and stuff, to go
(04:17):
there as I was then going to play basketball downstairs.
I went downstairs, played the basketball, then went upstairs saw
them not dancing, and I thought, oh, this is kind
of cool. They were doing some breaking, so I said, okay,
let me jump on that. So fast forward in the
performance happened. I joined the performance, and now there's a
change in my energy. However, I'm now jumping on the
(04:39):
same frequency as Mikey's already been there, So I'm now
jumping on this dance stuff and I'm getting more hungry
for it. So before Boy Blue, we started a crew
called Matrix started in ninety nine. He was inspired from
the film The Matrix because we're talking about your surroundings
and how you adapt to your surroundings. So we took
on this concept and started to look at our dance ours,
(05:00):
how we moved and then from there, I would say
that is like the seed that then created what was
Boy Blue. However, there was one point where we got
into competitions and we had a crew called KMK, which
was Kenrick, Michael and Kelroy and my brother. So the
three of us came together, went to South London, literally
took over South London. Yeah, with from a competition point
(05:23):
of view, and then it really pushed the energy of
what is boy Blue? On top of that and inside
that and around it you have Mikey's music. So Mikey
then made the choice to basically say, ken I'm not
gonna dance anymore. I'm gonna focus on my music. I
cried and.
Speaker 5 (05:42):
I I've never heard that part.
Speaker 3 (05:47):
I I felt like, oh cool. But the elevation of
what has has been Boy Blue, I would say one
of the biggest choices is Mikey said I'm not going
to dance anymore. Because what it did is it enabled
the understanding of how dance and music can really marinate
and how important music is to the dancer. Yes, you
have music there on the radio, you have it on
(06:10):
a CD backa day CD. Now you can just download it.
But music is such an integral part of what we
do as dancers. We listen to it, we have a
relation to it, we find a frequency, and we die.
We immerse ourselves like it's a swimming pool. So once once,
that then became the fire and the petrol of the company,
(06:31):
both myself and Mike. He kept on pushing. We kept
on pushing. We're having loads of different kids, loads of
different youth, loads of different adults come and joining us.
And now it's coming to twenty five years of what
has become this response. It was the initial response was
and the tenacity and the hunger and the passion to
now being a company a business. This is something from
(06:55):
a UK point of you're unheard of because of how
we have sustained won the company to our brotherhood, stroke,
friendship and free just the change of how UK hip
hop dance has evolved and it's moved in such a
way for us to still be around doing this is
(07:15):
a very very powerful thing.
Speaker 2 (07:17):
I want to talk more about that in just a second,
but lips to remind everybody who we're speaking with. It's
Michael Mikey j Assante, a renowned London born producer and DJ,
and choreographer Kenrick H two O Sandy. Together they are
co founders and co artistic directors of Boy Blue, the
celebrated hip hop dance company based in London and performing
at Lincoln Center very soon March twenty seventh, twenty eighth,
(07:39):
and twenty ninth with the US premiere of Cycles. You
can find out more at Lincolncenter dot org and more
about the company at boy Blue dot co dot UK.
You're listening to get connected on one six point seven
light FM. Amina del Rio and I don't know Kenrick
or Michael, if you want to speak to this as well.
What I was thinking about. You know, you're talking about
starting off in a gym and a rec center and
(08:01):
getting bigger. But also this is a form of dance
that came out of the clubs and so now it's
in these proscenium stages and Lincoln Centers specifically. I know
you can they can have different configurations, but it's it's
a little different in some ways. Can you talk about
performing that in a theater and also the audiences in
those sorts of rooms.
Speaker 4 (08:20):
Do you know what?
Speaker 3 (08:20):
I think what's very interesting is that regardless of whether
it's a theater or in a youth center or old
school cardboard on the floor, it's about interaction, it's about
the community, and that's what it is. We're literally going
to be bringing the community into the theater. We want
to invite the community into this fare and say, listen,
(08:42):
this is yours and this performance that we're giving you
is us honoring to see the route the foundation of
to us, what is hip hop dance and how we
have taken it on board and how we add our
UK seasoning. If this was like a dish, this is
our season and on top of this dish, and we
(09:03):
hope you enjoy the flavors. We hope you enjoy the
smell of it. We hope you enjoy the experience of
what we're trying to do. So, yeah, regardless of it
as a theater, you know what I mean, we want
to place it in that space, but we want to
also make you understand it. It's still a community, it's
still a vibe, it's still home.
Speaker 2 (09:21):
Since you bring up the UK spice. You're in New York,
not for the first time, but this is New York, right,
It's a different it's a bit of a different vibe.
Can you talk about returning to New York it's the
home of hip hop, you know, coming back and sort
of the feeling here, what did anything else?
Speaker 5 (09:37):
Do you feel this sense of honor the notion of
what New York can that of hip hop's seed, what
it gave us. It's a gift, right, and you feel
so very very happy to know that you can honor
and support the continuation of the awesome gift that's been
given to the world of that hip hop. It allows
(09:58):
the idea of interpolation, the idea of sampling, the idea
of yourself being connected and placed inside it for Rick
to then become something else.
Speaker 4 (10:07):
And I think that's what we want to try and do.
Speaker 5 (10:09):
We want to walk in knowing we've created our version
of what the hip hop seed has supported us with it.
So you feel and that it made sense of pride
as a brick coming to the States in general than
the idea of coming to the home. You know, it
just makes it even more potent that you want to
deliver and make.
Speaker 4 (10:28):
Sure that you do a great job. So yeah, we're
excited more than anything else.
Speaker 2 (10:33):
I'm also curious about your dancers training in this form,
rehearsing in this form. But really the training I think
is interesting to think about. Right, there's very sort of
traditional dance and hip hop has its own tradition getting
ready for this show. What goes into it? How long
is the process and how are the dancers feeling about coming.
Speaker 3 (10:52):
So in the process, I think one of the major
things is that we see them as athletes. That's one
of the major things. So we we will do warm ups,
we will do conditioning. It's a full on show. It's
not like forty five second round of a battle. This
is over forty five minutes of dance constant. So it's
(11:14):
about stamina, endurance. It's about not just physical stammining, about
mental stamina with regards to the different divisive tools that
we're using choreographically and also the musicality that we have
to we have to hit be in the visual auditory.
So in that there is a there's a mindset that
we're working with everything called CTA, which is conditioning, transition
(11:36):
and application, which is a process we condition, whether it's
physically or mentally. Then we go for a transition to
explore what it is that we're trying to do. So,
if you're trying to do a move, let's condition the
muscle to be able to do the move. Let's play
with that, and let's apply it to the show. So
that's where the whole process of CTA comes into it.
So it's not just about Okay, you've got you've got
(11:56):
great group and you've got great freestyle, and that's good
because we need that. Oh, you're really good at doing
choreography and you're good at picking it up. Okay, that's
really good, But what about the frequency you've got the
form You not understand the formulas, but it's the frequency,
the intention. What is the pathway are you? How are
you pulling the audience into the space. They start to
(12:18):
understand us about how we create our work. We look
at the free ease, which is education, entertainment, and enlightenment.
So we're looking at how we're educating the audience and
how to use hip hop dance. We're looking at the entertainment.
Everyone loves to see dancer. Let's entertain the audience. But
then with regards to the concept and the energy of
what cycles is we leave the audience or have the
(12:40):
audience leaving enlightened, feeling inspired something something to provoke them
to question it, you know. So, Yeah, the dancers are
going through their pace and we selected them in We
selected them one because of their abilities, but also we
looked at, you know what, the way in the vibe
and the fill of this show. We need people who
vibrate in the particular way, and these lots they vibrate
(13:03):
the process that they went through to make the show.
It was a lot. So we have a lot of
respect and love for them because what they're doing is
they're enabling us. They're trusting our process, which then gives
us more morale to keep on pushing and keep on
provoking the energy of what is what is this? UK
hip hop Dots.
Speaker 2 (13:24):
The shows will be at Lincoln Center Rose Theater March
twenty seven, twenty eighth, and twenty ninth at seven thirty pm.
Tickets are at Lincolncenter dot org. The show is called
Cycles by Boy Blue Boy Blue dot co dot UK. Michael,
anything else you want to add about the show, anything
audience you should know. In addition, I want to talk about.
Speaker 4 (13:41):
The dancers for a second, just a little bit more.
Speaker 5 (13:43):
You know, they are truly something to be I don't know,
celebrated is the best way to describe them. They support
it creating the playlist of this piece because I had
I had always had an envision that the music would
exist before the show began. They consistently allowed us and
allowed us to use their bodies to change and challenge
(14:07):
and ask the question of what the show should say.
So they they were dancing a different show, you know,
they danced a different configuration as to the ideas of
what we needed to do, where the songs needed to go,
and eventually we found the piece together. So truly, people
should come and watch just these fine men and women
(14:28):
who take us to a whole another space and their skills,
like Ken said, as athletes.
Speaker 4 (14:33):
You know, it's just incredible.
Speaker 5 (14:34):
So I'm really excited for everyone and especially New York
to get opportunity to see them.
Speaker 2 (14:40):
It sounds fantastic again. You can find out more about
the show at Lincoln Center dot org. Kenrick, Sandy, and
Michael Esante from Boy Blue thank you for being on
the show. Look forward to seeing it and save travels.
Speaker 3 (14:51):
Thanks very love.
Speaker 1 (14:53):
This has been get connected with Nina del Rio on
one OO six point seven light a FM. The views
and opinions of our guests do not necessarily reflect the
views of the station. If you missed any part of
our show or want to share it, visit our website
for downloads and podcasts at one O six seven lightfm
dot com. Thanks for listening.
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