Meet Mallory Fabian of Fabe Dance

Today we’d like to introduce you to Mallory Fabian.

So, before we jump into specific questions, why don’t you give us some details about you and your story.
I grew up in Las Vegas and started dancing in sixth grade with a program from Nevada Ballet Theatre. I didn’t really take dancing as seriously as I should have, but I was heavily invested in getting my black belt in Tae Kwon Do. I was cheerleading for many years in Pop Warner, a football/cheerleading league, as well as doing musical theatre. In 8th grade, my drama teacher, Kathleen Etor, took me to a dance-theatre work called “Red Chair” choreographed by Jeneane Huggins. That night I realized I wanted to dedicate my life to dance and choreography: I wanted to inspire people the way I was inspired that night. I then started taking ballet at Kravenko Dance Academy, where Alison Kravenko built the strongest foundation for myself as a dancer. I also trained at Las Vegas Academy and danced professionally for Allison Jacks, who was my gateway into work inspired by Gaga technique.

I moved to LA in 2012, where I got my BFA at Calarts and fell in love with making thought-provoking work. I started my company, fabe, in 2017 with Darby Kelley, and have since become the Board President of Rosanna Gamson/World Wide and Rehearsal Director of Invertigo Dance Theatre. I have toured to Poland, Berlin, Marseille, and Philadelphia co-teaching and performing. I’ve produced my own work in LA and have danced with so many beautiful people and companies like Gob Squad, Szalt, RGWW, Zoe Scofield, B. Dunn Movement, and many more.

I recently co-founded a company with Darby Kelley called PCKT, which focuses on bringing directors/producers/anyone making new work TOGETHER.

Great, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
Absolutely not… I like to think that nothing comes easy. I work so hard, I always have, I have to.

I just recently learned what it means to have a day off or make myself take a day off.

I fight for my work. I somehow always make things happen that many people/presenters have said no to. I have a hard time taking no for an answer.

I learned a lot of attitude from my Nana, Marlena Shaw. My favorite quote from her, “This shit is some shit”.

I often think to myself, “Is this worth it? Should I stop?” But I care way too much about the art that I make. I want people to think differently about dance in general. I crave conversation and I want people to have opinions about my work. I could care less if people like or dislike my work, but I want to know why. I love to debate myself and question my work.

I think radically, but not very politically… I’m constantly putting myself and my story out there, which is such a vulnerable practice. As much as I like to think I don’t hide from anyone, I do.

So, short answer? No. It’s just hard to pave your own way. Thankfully my mom and dad have been there consistently from the beginning. Having their support has definitely been key to my process.

Fabe Dance – what should we know? What do you guys do best? What sets you apart from the competition?
Fabe is in its second year! I love the work I do with fabe because we push the limits on dance. I’m most interested in what exhaustion does to a dancer and their mind. How does one go to their limit and still continue? I believe that the work is more emotional and connected once the audience can empathize with the performer. fabe is different because we’re not invested in the product; we’re invested in the process. As the director, I could care less if the product looks the same every time.

I care about what the performer is thinking about while they’re making the movement and our thoughts are different every second of the day, and different from each other. We make in the moment decisions on stage. I believe that giving freedom to the performers is such a different experience than what most choreographers do, and it builds a trust between the performers, directors, and audience.

The performers and I are constantly having conversation about the work and what we’re trying to accomplish. We challenge each other. We work together to understand the work even if we don’t understand what we’re creating, that is what’s exciting to me. The performers are as much a part of the conversation as the director, and it’s as much of their story as it is mine.

What moment in your career do you look back most fondly on?
I choreographed a topless piece at Calarts, L’Ombre dans l’Eau, a very beautiful, very feminine empowered work that meant a lot to me. For some reason it was really hard to get approved by Calarts staff to be presented because of the nudity. It took a lot of convincing and effort to deem it necessary to make. At the end of the performance, someone said loudly, “I guess that was art?”, and for some reason, I was so happy and laughed when I heard that. I want to be constantly challenged by the audience and the people around me. I do not care if people love it, like it, or hate it no matter how much work goes into making it happen. I want to have a conversation! If at the end of the show people are talking critically about the work, then I’ve done my job.

Contact Info:

• Website: www.fabedance.com
• Email: info@fabedance.com
• Instagram: @fabedance
• Facebook: www.facebook.com/fabedance
• Other: @pcktla on Instagram

Image Credit:
Marissa Mooney, Tom E Kelley, Wil Haraldson

Getting in touch: VoyageLA is built on recommendations from the community; it’s how we uncover hidden gems, so if you know someone who deserves recognition please let us know here.