Interludes

VIEWPOINTS – Gotta Dance!: Exploring Choreography in the Broadway Musical

• By drediman
• September 17, 2014
• No Comments

It’s easy to overlook the importance of choreography in the Broadway musical. Good choreography should be seamlessly integrated into the overall directorial vision of the show and be a natural component of the storytelling (along with the score and the book). At the same time, it should have a distinctive vocabulary of movement all its own. Over the years, I’ve been wowed by the inspired dance-making from musical theater’s leading choreographers, many of whom are responsible for some of the most iconic stage pictures etched in my memory. It’s intriguing that these choreographers have found themselves working on Broadway through various channels – Some come from the classical ballet and modern dance worlds (e.g., in-demand choreographer Christopher Wheeldon will be directing and choreographing “An American in Paris” this season on Broadway), while others always were and always will be solely Broadway babies (e.g., Kathleen Marshall). The resultant diversity in style and aesthetics in the choreography produced is what makes dance in musical theater so dynamic and exciting to behold. In no particular order, here are my Top 10 works of choreography that I’ve encountered during my many years of theatergoing.

1. A CHORUS LINE (Michael Bennett) – “A Chorus Line” revitalized a flagging Broadway in the mid-1970’s without the pyrotechnics of crashing chandeliers or life-size helicopters. Although I wasn’t around for the original production, I did catch the recent revivals on Broadway and in the West End, each of which replicated Mr. Bennett’s vital original choreography, which made inspired use of a practically empty stage. With virtually no scenery to speak of, “A Chorus Line” (which featured a tuneful score by the late Marvin Hamlisch) brought to life the turbulent inner psyches of a band of struggling Broadway chorus boys and girls through urgent dance “monologues” and throbbingly idiosyncratic group numbers. The unison of “One” at the musical’s conclusion socks an overwhelmingly emotional punch, as a result.

2. MOVIN’ OUT (Twyla Tharp) – Set to a suite of Billy Joel classics, Twyla Tharp’s thrilling “dansical” (there is no dialogue or singing by the characters in the show, only dancing and a top-notch band that oversees the proceedings) charts the evolution of a set of friendships from the promise of the 1960’s, through the terrors of the Vietnam War, and beyond. Ms. Tharp’s muscular, dynamic choreography was an ideal match for Billy Joel’s down-to-earth, frank, and somewhat sentimental songs. I remember falling in love with the talented original cast, which included the striking John Selya and Elizabeth Parkinson, both of whom danced with terribly exciting reckless abandon.

3. DISNEY’S THE LION KING (Garth Fagan) – One of the most celebrated and successful musical productions of all time, director Julie Taymor’s “The Lion King” (based on the blockbuster Disney animated feature, with songs by Elton John) features the angular, expressive choreography of Garth Fagan, a recognized figure in the modern dance world. It’s easy to overlook Mr. Fagan’s contributions to the show, given the massive spectacle of the production. But in my mind, much of the show’s success is indebted to the storytelling and character-revealing prowess of his work. His contribution to the show can be spotted immediately in that miraculous opening number, “The Circle of Life”.

4. CONTACT (Susan Stroman) – Susan Stroman is a living legend working in the theater. Although she is perhaps better known for her original and witty choreography for “Crazy for You” and “The Producers”, for me her masterpiece will always be her evening of short stories set to dance, “Contact”, which was an unlikely hit on Broadway. Rarely has dance in a musical been so joyful, playful, and seductive – many times all in the same step. Although each segment was deeply satisfying, I particularly loved the final titular short story, which was a glorious ode to the power of social dance, particularly swing dancing. And much like Cassie’s red dress in “A Chorus Line”, the Girl in the Yellow Dress’s costume in the last segment has to be one of the simply sensational costumes in musical theater history.

5. MATTHEW BOURNE’S SWAN LAKE (Matthew Bourne) – When I was studying in London circa 1999, I attended a performance of Matthew Bourne’s version of “Swan Lake”. It was a revelation. Never before had I considered dance to be a serious storytelling device in theater. Mr. Bourne’s choreography was visceral and witty in equal measures, sweeping me along on waves of emotion (certainly enhanced by Tchaikovsky’s famous and popular score). The highlights for me were the ends of each act, when the famous all-male swans took the spotlight with their powerful, slightly menacing presence.

6. WEST SIDE STORY (Jerome Robbins) – I’ve been lucky enough to see two productions of this benchmark musical to feature Jerome Robbins’ complete original choreography (a traditional production in London and the recent Spanish-tinged revival in New York). Each time, I’m astonished by how expertly integrated and integral the choreography is to “West Side Story”. This contrasted with the earlier Rogers and Hammerstein musicals, whose choreographic highlights were fantasy dance sequences (courtesy of Agnes de Mille and others) that stood apart from the rest of the show. To this day, the very popular “West Side Story” (thanks also to Bernstein and Sondheim’s driving score) remains the very model of a well-integrated musical.

7. ON YOUR TOES (George Balanchine) – Not many people know that the revered George Balanchine dabbled in Broadway musicals. For most, he’s the genius behind the serious-minded New York City Ballet. The buoyant dances in the Rogers and Hart musical “On Your Toes” may be his most famous work for the Broadway stage (these dances were recreated for the excellent Encores! rendition of the show at City Center). Outliving even the musical itself is the wonderfully theatrical and climactic show within a show, “Slaughter on Tenth Avenue”. Indeed, many dance companies perform “Slaughter” on its own.

8. CHICAGO (Bob Fosse / Ann Reinking) – One of the great success stories in Broadway history is the staying power of the revival of Kander and Ebb’s “Chicago”, which continues its extraordinary run on Broadway 18 years after opening in 1996. Originally directed and choreographed with great flare by Bob Fosse, the revival’s choreography was supervised by Ann Reinking in the unmistakable style of Mr. Fosse. What Ann Reinking and director Walter Bobbie have done is to distill the musical to its essence – from the choreography down to the design elements. Therefore, much like its original competition in 1976, “A Chorus Line”, the revival of “Chicago” is an ideal vehicle to showcase the scintillating choreography and the personalities of the dancers that make the show come to life, without the hustle and bustle of production.

9. FELA! (Bill T. Jones) – Although Bill T. Jones intrigued me with his gestural moves in “Spring Awakening” (he won a Tony for his work in the Duncan Sheik-penned show), he really astounded me with his pulsating, gyrating choreography for the bio-musical, “Fela!”, which is based on Fela Kuti’s rise to fame/infamy. Mr. Jones’s singular vision (he directed the show), particularly via his choreography, is the reason why “Fela!” rises above the other, more popular, jukebox musicals (e.g., “Jersey Boys”, “Beautiful: The Carole King”). Nothing on the stage of the Eugene O’Neill felt manufactured; every moment seemed to come from a place of authenticity.

10. CAROUSEL (Sir Kenneth MacMillan) – I confess that I was not around to witness Agnes de Mille’s original choreography for Rogers and Hammerstein’s “Carousel” and “Oklahoma!”. I was alive, however, to experience Sir Kenneth MacMillan’s breathtaking choreography for the absolutely exquisite revival of “Carousel” (directed by Sir Nicholas Hytner) for Lincoln Center Theater (a transfer from London’s National Theatre). Despite hailing from the classical ballet world, the late Mr. MacMillan’s work in “Carousel” exuded a certain rawness and earthiness that matched Hytner’s darker take on the show. The fantasy pas de deux in the second act was particularly moving in its urgency and heartbreak.