The Stars and Stories Hitting Broadway Stages This Year
The closing months of the 2016–17 season brought a glut of extraordinary music and dance to Broadway's stages, and the superabundance has left 2017–18 looking a bit anemic.
Partly it's real estate—there are only so many Broadway theaters; in June, nearly three dozen were occupied. The only musical scheduled to open this summer was Prince of Broadway. A retrospective look at the life and legacy of one of the American musical's most influential luminaries, producer/director Harold Prince, it is co-directed by Prince and Susan Stroman, and features numbers from his iconic shows—they include West Side Story, Fiddler on the Roof and Sweeney Todd.
The Band's Visit, PC Ahron R. Foster
The rest of this new season may not provide musicals with that kind of success and staying power, but the hopefuls are listed here in order of appearance. The usual warnings apply—things could change between press time and opening night—names, dates and entire shows can disappear before the first rehearsal. And it's worth noting that the last three Tony Awards for Best Musical went to shows that began off-Broadway.
The Band's Visit
Based on a 2007 movie about a group of Egyptian musicians who take the wrong bus and land in a remote desert backwater instead of the Israeli city where they were supposed to perform, this was an off-Broadway hit last season at the Atlantic Theater Company. It arrives on Broadway with laurels from the New York Drama Critics' Circle, who named it best musical, and again stars Tony Shalhoub as the bandleader. David Yazbek is the composer, Itamar Moses wrote the book, David Cromer directs and Patrick McCollum does the choreography. Starts Oct. 7 at the Ethel Barrymore.
The Band's Visit, PC Ahron R. Foster
The 1988 Tony winner for best play, David Henry Hwang's drama about a French diplomat who falls for a Chinese opera star is not, strictly speaking, a musical. But this revival starring Clive Owen earns a place here by dint of its director, the extraordinary Julie Taymor, who won a Tony for The Lion King; its composer, Elliot Goldenthal, who wrote the score for American Ballet Theatre's Othello; and its choreographer, China-trained, Tulsa-based Ma Cong, who was one of Dance Magazine's "25 to Watch" in 2006. Starts Oct. 7.
The Spongebob Musical, PC Joan Marcus
The eponymous hero and the other underwater creatures of Bikini Bottom swim from Nickelodeon's animated television series to the Broadway stage in this pop-music anthology co-conceived and directed by Tina Landau. Steven Tyler, John Legend, Cyndi Lauper and David Bowie are just a few of the stars contributing to the score and giving choreographer Christopher Gattelli a multitude of styles to play with. Starts Nov. 6 at the Palace.
The Spongebob Musical, PC Joan Marcus
Once on This Island
When a show begins with a song called "We Dance," you know the choreography will be important. For this revival of the 1990 Caribbean-flavored musical by Lynn Ahrens and Stephen Flaherty, the assignment falls to Camille A. Brown, whose Black Girl: Linguistic Play was nominated for a 2016 Bessie Award. Michael Arden, who did the 2015 sign-language revival of Spring Awakening, is the director. Starts Nov. 9 at Circle in the Square.
Escape to Margaritaville
Inspired by Jimmy Buffett's 1977 hit song about a beach bum "wasting away again in Margaritaville," the show relocates the Come From Away team—Tony-winning director Christopher Ashley and Tony-nominated choreographer Kelly Devine—to a different kind of island. This one's a tropical resort, and Buffett's patented flip-flop songs are both old and new. Starts Feb. 16 at the Marquis.
Escape to Margaritaville, PC Matthew Murphy
Christopher Wheeldon created a beautiful evocation of this classic Rodgers and Hammerstein musical when he was resident choreographer at New York City Ballet. Now his successor in that job, Justin Peck, is choreographing the whole clambake, in which raffish barker Billy Bigelow falls fatally in love with prim New Englander Julie Jordan. Jigger, the show's villain, is not usually a dance role, but that's sure to change with NYCB principal Amar Ramasar in it. His colleague in the company, Brittany Pollack, will dance the famous dream ballet. Tony-winning Jack O'Brien, who did Hairspray and Charlie and the Chocolate Factory, is the director. Starts Feb. 27.
My Fair Lady
They could have danced all night when this glorious musical, by Alan Jay Lerner and Frederick Loewe, arrived on Broadway in 1956. It hasn't been back since 1993, and Lincoln Center Theater is correcting that oversight with a new production directed by Bartlett Sher. The choreographer will be Sher's partner on South Pacific and The King and I, Christopher Gattelli. Starts March 15 at the Vivian Beaumont.
Escape to Margaritaville, PC Matthew Murphy
Based on the Oscar-winning Disney animation about princesses Elsa and Anna of Arrendelle, the show includes new songs by the film's composers, Kristen Anderson-Lopez and Robert Lopez. Anderson-Lopez created the a cappella score and the concept for last season's In Transit, and Lopez won Tonys for The Book of Mormon and Avenue Q. They are joined by Tony winners Michael Grandage and Rob Ashford, doing the direction and choreography. Starts in spring.
Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.