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SEVA ANTHONY discovered her love for dance after a music teacher brought his high school class to see a production of Balanchine’s “SERENADE” danced by the NEW YORK CITY BALLET. For Seva, and a majority of the class hailing from Saranac Lake, NY, a small town nestled in the heart of the Adirondacks, this was the first ballet ever seen.
Though statistics report it was decidedly too late to pursue a career in dance, at age 17, Seva went against all odds and began studying ballet in Lake Placid with VIRGINIA JACKSTADT and the PAUL TAYLOR DANCE COMPANY, in summer residency. Through Paul Taylor’s glowing recommendation, Seva was accepted into VIRGINIA INTERMONT COLLEGE, where she received her BA in Ballet Education under the tutelage of Constance Hardinge, director of the BRISTOL BALLET and SERBA (Southeastern Regional Ballet Association.) In college, Seva’s choreography was well-received, earning her a position in the “Who’s Who Among Students in American Colleges and Universities” for two consecutive years. She belonged to three professional fraternities and received several scholarship awards in academics and the arts.
In 1980, Seva relocated to NEW YORK CITY, and with GAIL CRISA, a sixteen-year veteran with the NEW YORK CITY BALLET, formed the two-person company named DUO DANCE. DUO DANCE ran the college circuit featuring Seva’s choreography until Ms. Crisa’s retirement three years
In 1984, as a replacement for BROADWAY choreographer, BILLY WILSON, Seva was hired by THEATRE INTERNATIONAL, a summer stock training ground for teens, located in LEYSIN, SWITZERLAND. Over the course of four summers, Seva choreographed over 20 productions and held the position of choreographer and director of dance, sharing the responsibility beside renowned ethnic dancers, MATTEO and CAROLA GOYA.
While in NEW YORK, Seva extended her knowledge in several styles of dance. While her initial studies were with the JOFFERY BALLET and NEW YORK SCHOOL OF BALLET, she returned to the PAUL TAYLOR DANCE SCHOOL and studied jazz at BROADWAY DANCE CENTER. In addition to performing in opera companies such as the LIGHT OPERA of MANHATTAN, she was a member of LOS DANZANTES (a sister company of the Jose Greco Spanish Dance Company) and the ISADORA DUNCAN HERITAGE DANCE COMPANY. Her departure from New York City occurred in 1989 when she went on contract with the GUNTHER GEBEL-WILLIAMS FAREWELL TOUR with RINGLING BROS. BARNUM and BAILEY CIRCUS. Seva was hired as a dancer/aerialist but left at the close of the tour to travel to JAPAN with the FARFAN CIRCUS, and Winnie McKay’s L.A. CIRCUS CARAVAN.
In Los Angeles, while performing in the musical, “CARNIVAL”, Seva was spotted by an agent who encouraged Seva to form her own aerial act for the HORIZON CASINO in Lake Tahoe, NV. The following year, she was performing at the famed RIO HOTEL/ CASINO in LAS VEGAS.
While in Las Vegas, when not flying in the air, Seva danced in several notable revues until 1993, when she was hired by the TONY- award winning, OREGON SHAKESPEARE FESTIVAL as a dancer and aerialist. On the main stage, Seva’s aerial talents were featured in “A MIDSUMMER NIGHT’S DREAM”. She received a favorable word from the press and was the inspiration for a local artist who created a sculpture, which today, is displayed publicly, on the grounds of the Festival. Again on the main stage, her Spanish dance abilities were featured in Lorca’s “BLOOD WEDDING” and on a similar theme she choreographed the Spanish dance portion of the festival’s TUDOR FAIRE. For a period of four years Seva performed a variety of styles ranging from Renaissance to Baroque dance. Her work was seen in the DAEDALUS PROJECT, (OSF’s annual AIDS benefit) and the popular Noon Concert Dance Series.
Following the tragic death of her aerial partner in 1996, Seva retired her aerial act but continued to hone her skills as an actress/dancer. She segued into shows such as ” CHARLOTTE’S WEB” where she was able to utilize her dramatic and movement skills. Having attended acting courses in New York (MICHAEL HOWARD), Oxford, UK at the BRITSH ACADEMY OF DRAMATIC ART and RADA (the Royal Academy of Dramatic Art), Seva returned to the dramatic study she first attempted in college which won her a collegiate award for “THE EFFECT OF GAMMA RAYS ON MAN-IN-THE-MOON MARIGOLDS”. At PENDRAGON THEATRE in upstate New York, she was given the opportunity to play leading roles in classical and contemporary productions in repertory; all of which have had favorable reviews.
Seva’s first successful directorial/choreographic effort was staging “THE MYSTERY OF EDWIN DROOD” for the Community Theatre Players of Lake Placid. She later directed” FOLLOW THAT RABBIT: THE WONDERLAND STORY” which introduced 75 children to a sophisticated concept not often seen in children’s productions. Her most successful endeavor with children, however, was “THE KING AND I”. Double casting the show with over 120 performers for CTP, Seva met the cost of the lavish production with a five thousand dollar surplus. The less ambitious, strictly dramatic efforts for CTP included the direction of BLITHE SPIRIT and A BAD YEAR FOR TOMATOES.
Having worked with both professional and amateur groups, Seva feels that both categories offer unique challenges. Seva quotes: “With professionals, I have learned to offer conceptual guidance without extinguishing the actor’s creative expression. In amateur productions, there is such a varied range of abilities, the task at hand is to mesh the weak and strong links together into a seamless production. I encourage both levels of performers to enjoy the rehearsal process as well as the end result, but not at the sacrifice of undisciplined behavior. The level of commitment in community theatre is variable, so I have learned four important “TO BE” factors: BE prepared, BE conceptually solid, BE articulate, and above all, BE flexible to change.
LETTERS OF RECOMMENDATION and VIDEO available upon request.