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How Broadway Choreographer Kelly Devine Switched Gears for Escape to Margaritaville
You could call it island-hopping, but it's not exactly a vacation. After choreographing last season's Come From Away, and winning a Tony nomination, Kelly Devine zipped from frosty Newfoundland to the Caribbean beach resort that is the setting for Escape to Margaritaville.
In the fall, she was shuttling between them, before they start this month: flying to Toronto to prepare a new Canadian production of Come From Away, then jetting back to Chicago for the final stop of Margaritaville's four-city pre-Broadway tryout.
"These two shows could not be more different from each other," Devine says with a dash of understatement. Come From Away is about the small Newfoundland town where airliners grounded by the 9/11 attacks dumped thousands of unexpected visitors; Escape to Margaritaville, at the Marquis Theatre, is a comic island romance concocted from the beachcomber songbook of Jimmy Buffett.
And while the cast of Come From Away plays dozens of real people, not one of them a dancer, the 16-strong ensemble of Escape to Margaritaville is pretty much on a never-ending vacation, looking for a good drink and a good time (and, of course, a lost shaker of salt). So dancing is a major preoccupation.
Buffett's dedicated fan base, known as Parrotheads, can rest assured that the 20-plus songs by their hero are not being manhandled. "Jimmy's been our spirit guide," Devine notes. "He's also been very loose, and has given us free rein. What's been tricky has been building dance breaks based on new characters we have."
Margaritaville's bouncy score includes new tunes as well as familiar hits. And she feels right at home with Buffett's leisurely, loping beat. "My stepfather was a professional reggae guitarist," she explains, remembering girlhood nights in California spent dancing at his gigs. "I can tap into that sound."
PC Matthew Murphy, Courtesy DKC/O&M
The music, she says, "controls everything for me—what it makes me feel, what it makes my body do." But musicals are about more than their sound, and she had to find her footing after Come From Away. "You get immersed in the work, and once you find that vocabulary, you just keep building—you just stay in that lane."
For Margaritaville, she had to get off the highway, "to really switch gears." It wasn't just the new subject and score. What needed adjustment was her approach. "The tone of Come From Away was so important," she says. "There was lots of restraint needed, to articulate very specific moments delicately." With Margaritaville, delicacy is beside the point. "I had to remind myself that I can really go big and go wild with this show. If it's too much, I can always pull back."
Despite all the differences, she finds herself applying lessons from the earlier production. She says Come From Away taught her "how important every single gesture can be, and how to tell a story when you don't have a lot of props or scenery. Knowing that, I approach all my work differently now. I think I have a sharper eye on every move, every step."
Margaritaville's story focuses on Tully, the Margaritaville Hotel's laid-back, skirt-chasing entertainer; Brick, the bartender, and two vacationing gal-pals who find not just the cocktails but the men to their taste. The cast of characters, directed by Tony-winner Christopher Ashley, also includes a few oddballs, even zombies.
They're part of the island's folklore, the undead remnants of a group of Midwestern insurance salesmen who were visiting in 1962 when the volcano blew up. The zombies are in the trickiest of those tricky dance breaks, and at the show's world premiere, in San Diego, critics reacted to them with both delight and scorn.So Devine was still fiddling in Chicago. "I want to get it right," she says. "I will be working on those guys until the day we open." Pressed for details, she demurs: "You're gonna have to see it—I can't give it all away!"
PC Matthew Murphy, Courtesy DKC/O&M
She will say that they're part of Brick's flashback, that they're dressed like '60s businessmen—" 'Mad Men' zombies" who "do all sorts of stuff," including a second-act tap number. "Brick realizes that the zombies are in his mind, so he can make them do whatever he wants. And he wants them to do a big tap number."
Camille A. Brown is on an impressive streak: In October, the Ford Foundation named her an Art of Change fellow. In November, she won an AUDELCO ("Viv") Award for her choreography in the musical Bella: An American Tall Tale. On December 1, her Camille A. Brown & Dancers made its debut at the Kennedy Center, and two days later she was back in New York City to see her choreography in the opening of Broadway's Once on This Island. Weeks later, it was announced that she was choreographing NBC's live television musical Jesus Christ Superstar Live in Concert, to air on April 1.
An extraordinarily private person, few knew that during this time Brown was in the midst of a health crisis. It started with an upset stomach while performing with her company on tour last summer.
"I was drinking ginger ale, thinking that I would feel better," she says. Finally, the pain became so acute that she went to the emergency room in Mississippi. Her appendix had burst. "Until then, I didn't know it was serious," she says. "I'm a dancer—aches and pains don't keep you from work."
The encounter with man-eating female creatures in Jerome Robbins' The Cage never fails to shock audiences. As this tribe of insects initiates the newly-born Novice into their community and prepares her for the attack of the male Intruders, the ballet draws us into a world of survival and instinct.
This year celebrates the 100th anniversary of Jerome Robbins' birth, and a number of Robbins programs are celebrating his timeless repertoire. But it especially feels like a prime moment to experience The Cage again. Several companies are performing it: San Francisco Ballet begins performances on March 20, followed by the English National Ballet in April and New York City Ballet in May.
Why it matters: In this time of female empowerment—as women are supporting one another in vocalizing injustices, demanding fair treatment and pay, and advocating for future generations—The Cage's nest of dominant women have new significance.
Last week in a piece I wrote about the drama at English National Ballet, I pointed out that many of the accusations against artistic director Tamara Rojo—screaming at dancers, giving them the silent treatment, taking away roles without explanation—were, unfortunately, pretty standard practice in the ballet world:
If it's a conversation we're going to have, we can't only point the finger at ENB.
The line provoked a pretty strong response. Professional dancers, students and administrators reached out to me, making it clear that it's a conversation they want to have. Several shared their personal stories of experiencing abusive behavior.
Christopher Hampson, artistic director of the Scottish Ballet, wrote his thoughts about the issue on his company's website on Monday:
I always knew my ballet career would eventually end. It was implied from the very start that at some point I would be too old and decrepit to take morning ballet class, followed by six hours of intense rehearsals.
What I never imagined was that I would experience a time when I couldn't walk at all.
In rehearsal for Nutcracker in 2013, I slipped while pushing off for a fouetté sauté, instantly rupturing the ACL in my right knee. In that moment my dance life flashed before my eyes.
Stephen Petronio brings a bracing season to New York City's Joyce Theater, where he has performed almost every year for 24 years . His work is exciting to the subscription audience as well as to many dance artists. He delves into movement invention at the same time as creating complex postmodern forms. The new work, Hardness 10, is his third collaboration with composer Nico Muhly. The costumes are by Patricia Field ARTFASHION, hand-painted by Iris Bonner/These Pink Lips. Petronio's work still practically defines the word contemporary.
Stephen Petronio Company also continues with its Bloodlines series. That's where he pays homage to landmark works of the past that have influenced his own edgy aesthetics. This season he's chosen Merce Cunningham's playful trio Signals (1970), which will be performed with live music from Composers Inside Electronics.
Completing the program is an excerpt from Petronio's Underland (2003), with music by Nick Cave. Video footage courtesy of Stephen Petronio Company, filmed by Blake Martin.
Never did I think I'd see the day when I'd outgrow dance. Sure, I knew my life would have to evolve. In fact, my dance career had already taken me through seasons of being a performer, a choreographer, a business owner and even a dance professor. Evolution was a given. Evolving past dancing for a living, however, was not.
Transitioning from a dance career involved just as much of a process as building one did. But after I overcame the initial identity crisis, I realized that my dance career had helped me develop strengths that could be put to use in other careers. For instance, my work as a dance professor allowed me to discover my knack for connecting with students and helping them with their careers, skills that ultimately opened the door for a pivot into college career services.
Here's how five dance skills can land you a new job—and help you thrive in it:
When you spend as much time on the road as The Royal Ballet's Steven McRae, getting access to a proper gym can be a hassle. To stay fit, the Australian-born principal turns to calisthenics—the old-school art of developing aerobic ability and strength with little to no equipment.
"It's basically just using your own body weight," McRae explains. "In terms of partnering, I'm not going to dance with a ballerina who is bigger than me, so if I can sustain my own body weight, then in my head I should be fine."
We all know that companies too often take dancers for granted. When I wrote last week about a few common ways in which dancers are mistreated—routine screaming, humiliation, being pressured to perform injured and be stick-thin—I knew I was only scratching the surface.
So I put out a call to readers asking for your perspective on the most pressing issues that need to be addressed first, and what positive changes we might be able to make to achieve those goals.
The bottom line: Readers agree it's time to hold directors accountable, particularly to make sure that dancers are being paid fairly. But the good news is that change is already happening. Here are some of the most intriguing ideas you shared via comments, email and social media:
With dancer and choreographer credits that cover everything from touring with Beyoncé to music videos and even feature films, Tricia Miranda knows more than a thing or two about what it takes to make it. And aspiring dancers are well aware. We caught up with the commercial dance queen last weekend at the Brooklyn Funk convention, where she taught a ballroom full of dancers classes in hip-hop and dancing for film and video.
How To Land An Agency
"At times with the agencies, they already have someone that looks like you or you're just not ready to work. Look has to do with a lot of it, work ethic and also just the type of person you are. Do you have personality? Do people want to work with you? Because you can be the greatest dancer, but if you're not someone that gives off this energy of wanting to get to know you, then it doesn't matter how dope you are because people want to work with who they want to be around. I learned that by later transitioning into a choreographer because now that I'm hiring people, I want to hire the people that I want to be around for 12 or 14 hours a day.
You also have to understand that class dancers are different from working commercial dancers. A lot of class dancers and what you see in these YouTube videos are people who stand out because they're doing what they want and remixing choreography. They're kind of stars in their own right, which is great for class, but when it comes to a job, you have to do the choreography how it's taught."
Houston's METdance and the Dallas-based Bruce Wood Dance have teamed up to commission a new work from Dallas native (and former Dallas Black Dance Theatre artistic director) Bridget L. Moore. The two contemporary companies will take the stage together in Dallas at Moody Performance Hall on March 16 and at Houston's Hobby Center for the Performing Arts on April 13–15. Visit brucewooddance.org and metdance.org for details on the respective engagements.