25 to Watch 2018: Sam Pinkleton
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."
Every dancer knows that how you fuel your body affects how you feel in the studio. Of course, while breakfast is no more magical than any other meal (despite the enduring myth that it's the most important one of the day), showing up to class hangry is a recipe for unproductive studio time.
So what do your favorite dancers eat in the morning to set themselves up for a busy rehearsal or performance day?
When it comes to dance in the U.S., companies in the South often find themselves overlooked—sometimes even by the presenters in their own backyard. That's where South Arts comes in. This year, the regional nonprofit launched Momentum, an initiative that will provide professional development, mentorship, touring grants and residencies to five Southern dance companies.
You ever just wish that Kenneth MacMillan's iconic production of Romeo and Juliet could have a beautiful love child with the 1968 film starring Olivia Hussey? (No, not Baz Luhrmann's version. We are purists here.)
Wish granted: Today, the trailer for a new film called Romeo and Juliet: Beyond Words was released, featuring MacMillan's choreography and with what looks like all the cinematic glamour we could ever dream of:
While you might think of dance as a primarily visual art form, performances engage us on multiple levels. Our ears take in the score, the artists' breathing patterns, fellow audience members' reactions, and the physical percussion made by the dancers' footfalls and partnering. All of this information is available to audience members with limited to no vision, and when it comes to providing them with the rest, there are multiple approaches being refined by experts in the field generally referred to as "audience accessibility."