- The Latest
- Breaking Stereotypes
- Rant & Rave
- Dance As Activism
- Dancers Trending
- Viral Videos
- The Dancer's Toolkit
- Health & Body
- Dance Training
- Career Advice
- Style & Beauty
- Dance Auditions
- Guides & Resources
- Performance Calendar
- College Guide
- Dance Magazine Awards
- Meet The Editors
- Contact Us
- Advertise/Media Kit
Even Dark Stories Need Dance
How Andrew Palermo brought movement to a musical about World War II internment camps.
One of Allegiance's lighter scenes. Photo by Henry DiRocco, courtesy The Old Globe.
As last season began winding down, it looked as though dance musicals had come roaring back to Broadway, with choreography front and center in shows like The King and I, On the Town and An American in Paris. But when the Tony Awards were distributed, the big winner was Fun Home, a dazzling musical with a choreographer (Danny Mefford), a dance captain (Joel Perez) and virtually no dance.
Broadway audiences know that this isn’t exactly new. For years, hit musicals, even a few great ones, have been minimizing, if not dispensing with, full-blown dance numbers. “Everything goes in waves,” says Randy Skinner, who has always specialized in what he calls “dance-driven” musicals, and who is directing and choreographing yet another, Dames at Sea, opening this month. But you won’t catch him bemoaning the limited-dance productions that keep arriving. “There’s a place for both,” he says. “There’s chocolate and vanilla, there’s apples and oranges, there’s room for everything. The worst thing is when you try to impose dancing on a show that doesn’t need it.”
Michael K. Lee and Lea Salonga dance. Photo by Henry DiRocco, courtesy The Old Globe.
At first glance, Allegiance, which begins previews this month, would seem not to need it, with its dark story of a Japanese American family caught up in one of the more shameful episodes in American history, the mass arrests and internment of our Japanese population after Pearl Harbor. Suggested by the World War II experiences of the family of actor George Takei, best known for his work in “Star Trek,” Allegiance is set in one of the camps as several generations of internees, among them American citizens both native-born and naturalized, cope with being imprisoned as enemies by their own country. Stressed-out and conflicted, they seem unlikely to break into dance.
Indeed, when the show opened in 2012, at San Diego’s The Old Globe, with choreography by Andrew Palermo, dance numbers were few and far between. But it has changed a lot, says Palermo, who is making his Broadway debut as a choreographer with this revamped version. He had joined director Stafford Arima’s team three years ago, when the show had already been “percolating” for several years, and he inherited a structure without predetermined dance slots and a cast comprising “primarily actor-singers.”
Like Skinner, Palermo underlines the idea that a choreographer’s job is to be “sensitive and appropriate” to the subject matter at hand. “For Allegiance,” Palermo says, “I didn’t want to shoehorn in big, splashy dance numbers if it didn’t make sense.” For the San Diego production, he devised a Saturday-night dance for the internees and a military drill for the ones enlisting—as many did—in the U.S. Army.
The show went back to the drawing board for a lab production in New York the following year. Palermo was delighted—“I said ‘hooray!’ ”—when the feedback from industry insiders urged “More dance! More movement!” Adding dance was possible, he says, because, “these internees had to find ways of breaking the tension.” So there’s a new baseball number, and a celebration when they hear that Japan has surrendered. The choreography draws from ballroom boogie-woogie and swing dance, which, Palermo says, is a challenge for his 12-member ensemble. “A lot of the partnering is a little bit counterintuitive to trained dancers, different from what we’re used to. I’m encouraging my cast to get some lessons. You can be working with Baryshnikov, but if he’s never done that style before, it’s definitely a learning curve.” Other elements alluded to in the dance sequences are martial arts, military drill-team moves, contemporary concert dance, traditional Japanese gesture and, of course, baseball. “Now,” Palermo says, “I don’t think of it as a show that doesn’t have dance.” And neither will anyone else.
George Takei of "Star Trek" fame. Photo by Henry DiRocco, courtesy The Old Globe.
Palermo's Big Break
Andrew Palermo’s path to Broadway began when he was 5, saw Fred Astaire and decided he wanted to dance. The local ballet studio, near Rochester, New York, didn’t take boys, but his mother enrolled him in a neighboring town. He went on to Rochester’s School of the Arts and then the University of Cincinnati, where he earned his musical-theater degree. He quickly augmented his Broadway performing career, which included Wicked, Annie Get Your Gun and How to Succeed in Business Without Really Trying, with choreography. When he moved to Los Angeles, he found himself teaching dance classes with his old high-school classmate Taye Diggs. In 2004, they founded the contemporary company dre.dance. “I love to bring concert-level dance into theater as much as possible,” Palermo says. He likes mixing genres in his work and his life—he’s also an assistant professor of drama at University of California, Irvine. “I try to be as bicoastal as I can,” he says. “Right now it’s the best of both worlds.”
I love being transgender. It's an important part of the story of why I choreograph. Although I loved dance from a very young age, I grew up never seeing a single person like me in dance. So how could I imagine a future for myself there?
The enormous barriers I had to overcome weren't internal: I didn't struggle with feelings of dysphoria, and I wasn't locked down by shame.
The dance community is heartbroken to learn that 14-year-olds Jaime Guttenberg and Cara Loughran were among the 17 people killed during the February 14 shooting at Marjory Stoneman Douglas High School in Parkland, FL.
Guttenberg was a talented competition dancer at Dance Theatre in Coconut Creek, FL, according to a report from Sun Sentinel. Dance Theatre owner Michelle McGrath Gerlick shared the below message on her Facebook page, encouraging dancers across the country to wear orange ribbons this weekend in honor of Guttenberg, whose favorite color was orange.
In today's dance world, it seems to go without saying: The more varied the training, the better. But is that always the case? Rhonda Malkin, a New York City–based dance coach who performed with the Radio City Rockettes, thinks trendy contemporary techniques that emphasize improvisation and organic movement quality are detrimental to the precision and strength needed to be a Rockette, in a traditional Broadway show or on a professional dance team. Her view is controversial: "If you really want to work, making $40,000 in three months for the Rockettes or $25,000 in one day filming a commercial, you need ballet, Broadway jazz, tap, hip hop—not contemporary," she says.
On the flip side, techniques that allow dancers more freedom may help them connect more deeply with their body and artistry, while providing release for overused muscles. We broke down the argument for both sides:
For many dancers, a "warmup" consists of sitting on the floor stretching their legs in various positions. But this strategy only reduces your muscles' ability to work properly—it negatively affects your strength, endurance, balance and speed for up to an hour.
Save your flexibility training for the end of the day. Instead, follow a warmup that will actually help prevent injury and improve your body's performance.
According to the International Association of Dance Medicine and Science, a smart warmup has four parts: "a gentle pulse-raising section, a joint mobilization section, a muscle lengthening section and a strength/balance building section."
A statement released yesterday by New York City Ballet and School of American Ballet reported that an independent investigation was unable to corroborate allegations of harassment and abuse against former ballet master in chief Peter Martins, according to The New York Times. This marks the end of a two-month inquiry jointly launched by the two organizations in December following an anonymous letter detailing instances of harassment and violence.
The statement also included new policies for both the company and school to create safer, more respectful environments for the dancers, including hiring an independent vendor to handle employee complaints anonymously. These changes are being made despite the independent investigation, handled by outside counsel Barbara Hoey, purportedly finding no evidence of abuse.
Not all ballet dancers cling to their youth. At 26, Lauren Lovette, the New York City Ballet principal, has surpassed the quarter-century mark. And she's relieved.
"I've never felt young," she says. "I can't wait until I'm 30. Every woman I've ever talked to says that at 30 you just don't care. You're free. Maybe I'll start early?"
When Beatlemania swept through the U.S. in the 1960s, Mark Morris was one of millions of young Americans who fell head over heels for the revolutionary group. "I was not immune," the choreographer says. "My sisters were mad about The Beatles and so was I. At age 12 I had a crush on Paul, of course."
Flash forward 50 years and he is still rocking to the British band, but this time with a new Beatles-inspired dance work his company is touring across North America, starting this month with scheduled stops in Seattle, Toronto, Portland, Oregon, and another 25 cities before the end of 2019.
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.
How does someone go from being a New York City Ballet corps member to training Hollywood A-listers like Natalie Portman, Rooney Mara and Jennifer Lawrence? By getting injured, says Kurt Froman.
When an ankle sprain left him sidelined a few years back, Froman was "sitting at home, depressed" when he sent his friend Benjamin Millepied an email asking what he was up to. It turned out that Millepied had just been hired to choreograph some scenes for a movie, but had to be in Paris during pre-production. "He needed someone to teach two actors choreography and get them in shape," says Froman. With nothing else on his plate, he said yes, and started prepping Natalie Portman and Mila Kunis for Black Swan.