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Reimagining a Classic
Holiday Inn pairs tap shoes with jump ropes and firecrackers.
Corbin Bleu and Bryce Pinkham play song-and-dance partners Ted and Jim. PC Jenny Anderson, Courtesy Polk & Co.
It didn't take much to put Denis Jones in a 1940s frame of mind for Holiday Inn, the New Irving Berlin Musical. “A lot of my esthetic is informed by that period," notes the choreographer. “To say I was an admirer of the golden era of film musicals as a child is like a crazy understatement—I was actually obsessed with them. Gene Kelly, Fred Astaire, the whole gang."
Astaire, of course, was in the original Holiday Inn, the 1942 movie that paired him with Bing Crosby in the story of song-and-dance partners who split up when the singer buys a farm. He soon realizes his property is more suitable for an inn, which he decides will operate only on holidays—thus the name, appropriated a decade later by the hotel chain. Holiday Inn's gimmick was less a plot point than an excuse for a slew of landmark Irving Berlin holiday songs—think “White Christmas" and “Easter Parade." There was also a dance classic, the Fourth of July number in which Astaire's tapping is accompanied by exploding firecrackers. The Broadway version, playing at Studio 54 until January 14, retains these iconic numbers and adds other Berlin tunes to fill out the story, reworked by Gordon Greenberg and Chad Hodge.
Greenberg, who is also the director, has collaborated frequently with Jones—this is their fifth show together, and Jones' second outing as a choreographer on Broadway. (His first was the sadly underappreciated Honeymoon in Vegas.) After prior iterations in Connecticut (at Goodspeed) and Missouri (at The Muny), it's arrived on Broadway under the auspices of the Roundabout Theatre Company, with Bryce Pinkham, of A Gentleman's Guide to Love and Murder fame, as the singer, Jim, and Corbin Bleu, of High School Musical fame, as the dancer, Ted. Jones sees a great advantage to working with an institutional theater like Roundabout: “We know we're running at least till January," he says. “Having a guaranteed run takes a certain amount of pressure off."
But the pressure and pitfalls of reimagining a classic remain. “In most cases," Jones says, “our treatment of various songs is quite different from what was in the movie." There are also new contexts for songs that weren't in the movie. “Dancing Cheek to Cheek," which Berlin wrote for Astaire and Ginger Rogers in Top Hat, is now a big ballroom number, which Jones tackled without recourse to the original. The song comes at a point in the plot that allows Jones to transform this quintessentially romantic number into rambunctious comedy. “But in something like 'Easter Parade,' " Jones notes, “it would be reckless not to have women parading in beautiful hats with the gentlemen in boaters—that is what the song is."
Jones revisits yet another indelible Astaire number, the firecracker dance, which is said to have required 38 takes to shoot. “It's one of those moments from the film," he says, “where if you don't explode some firecrackers for people, they will be annoyed with you." New York's fire marshals wouldn't countenance actual firecrackers in a crowded theater, so Bleu's firecrackers are simulated with technology. But there's nothing simulated about his expert tapping. “You want to deliver, as best you can, a theatrical version of what the film did so beautifully," Jones says. “The audience comes in with a certain expectation, and we certainly shouldn't disappoint them."
Jones, who started tap very early, feels particularly at home in the style. “It was my first love," he says. And tap shoes fly—sometimes literally—throughout the show. In the Christmas Eve scene, when Jim's showbiz friends arrive to help decorate the inn, they cheer him up with “Shaking the Blues Away," from the 1948 film Easter Parade. Christmas-tree garlands become dance props, and the ensuing tap-dance/jump-rope number brings down the house. The stage throbs with seven dancers courting disaster, twirling garland jump-ropes and skipping and tapping simultaneously.
“Their safety is of utmost importance to me," Jones says. “...But I do like danger. I'm attracted to things happening onstage that are surprising, that verge a little bit on danger." Of his rope-skipping tappers, he says, “I'm so impressed that they're able to accomplish that." But he knows that sometimes they won't.
“If you create a number where there's jumping ropes and juggling, throwing things and catching things," he concedes, “occasionally something's going to go wrong." And he tells the dancers, “Don't be afraid of that." Of course, he wants them to get it right. But if now and then they don't, “That's fine."
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 latest fitness fad has us literally buzzing. Vibrating tools—and exercise classes—promise added benefits to your typical workout and recovery routine, and they're only growing more popular.
Warning: These good vibrations don't come cheap.
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.
My life is in complete chaos since my dance company disbanded. I have a day job, so money isn't the issue. It's the loss of my world that stings the most. What can I do?
—Lost Career, Washington, DC
Dance Theatre of Harlem is busy preparing for the company's Vision Gala on April 4. The works on the program, which takes place on the 50th anniversary of the assassination of Dr. Martin Luther King Jr., reflect on the legacy of Dr. King and his impact on company founder Arthur Mitchell. Among them is the much-anticipated revival of legendary choreographer Geoffrey Holder's Dougla, which will include live music and dancers from Collage Dance Collective.
We stepped into the studio with Holder's wife Carmen de Lavallade and son Leo Holder to hear what it feels like to keep Holder's legacy alive and what de Lavallade thinks of the recent rise in kids standing up against the government—as she did not too long ago.
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.
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."