Pinkleton (right) rehearsing Natasha, Pierre & The Great Comet of 1812. Photo by Evgenia Eliseeva, Courtesy ICM Partners
In 2017, Sam Pinkleton's choreography appeared on three Broadway stages simultaneously: in Natasha, Pierre & The Great Comet of 1812, Amélie and the play Significant Other. But until recently, he didn't even feel comfortable calling himself a choreographer.
Pinkleton, 30, studied directing at New York University, where his relentless enthusiasm and "willingness to jump off of high things" led people to ask him to make movement for their projects. Since then, he's been creating "absurd, totally ridiculous, un-self-conscious movement," working with people with a broad spectrum of abilities and backgrounds, both young and old.
"I'm just one tall, scarecrow-y gay white guy who moves a certain way," says Pinkleton. "So the fact that I would expect other people to move the way I do feels really presumptuous." His one-size-doesn't-fit-all approach to choreography earned him a Tony nomination for The Great Comet, with an ensemble of dancers and musicians thrashing one moment and waltzing the next through nearly every portion of the theater.
It may seem like Pinkleton's been branded for Broadway, but, aside from the new musical Soft Power in L.A. and Trouble in Tahiti for Dutch National Opera this spring, his upcoming work is anything but proscenium-bound: "Even when I'm making theater, the idea of making it in club venues, in churches and basements and public parks is and has always been in the front seat for me."
Essential oils sometimes get a bad rap.Between the aggressive social media marketing for the products and the sometimes magical-sounding claims about their healing properties, it's easy to forget what they can actually do.But if you look beyond the pyramid schemes and exaggerations, experts believe they have legit benefits to offer both mind and body.
How can dancers take advantage of their medicinal properties? We asked Amy Galper, certified aromatherapist and co-founder of the New York Institute of Aromatic Studies:
Karen Azenberg, a past president of the Stage Directors and Choreographers Society, stumbled on something peculiar before the union's 2015 move to new offices: a 52-year-old sealed envelope with a handwritten note attached. It was from Agnes de Mille, the groundbreaking choreographer of Oklahoma! and Rodeo. De Mille, a founding member of SDC, had sealed the envelope with gold wax before mailing it to the union and asking, in a separate note, that it not be opened. The reason? "It is the outline for a play, and I have no means of copyrighting…The material is eminently stealable."