Make 'Em Laugh: How Top Choreographers Find Their Funny
At one performance of David Parker's Nut/Cracked in 2005, three-quarters of his audience walked out prematurely. But the same moment that caused the offense—a duet between two men with their thumbs in each other's mouths—earned Parker hearty laughs from the remaining crowd, and eventually an enthusiastic standing ovation.
Humor is subjective, and it can be tough to get right. Though there are many moments of brilliant comedy in dance, there are also so many failed attempts that, well, it's not even funny. There's no exact formula for grabbing a laugh. But experimenting with these ingredients can help you tap into your funny.
Trying to manufacture funny moments is a classic pitfall for choreographers, says Parker, whose troupe is called The Bang Group. Instead, discover ways to connect with the human emotions of the audience. "I started giving my dancers tasks that are nearly impossible, and therefore inevitably clumsy." Think: trying to tap clearly while falling down. "It awakens empathy, surprise or exasperation in an audience," he says. These genuine reactions tend to elicit laughter more than forced humor.
In 2014, Hubbard Street Dance Chicago joined forces with The Second City comedy troupe to create a collaborative showcase of theater and dance. "We learned that improv comedy isn't so different from what we do—both forms have to come from a really honest place, from the heart," says Robyn Mineko Williams, one of the creators of The Art of Falling, the resulting evening-length production. Taking cues from Second City's method, Williams says they just played a lot. "I learned the importance of patience and experimenting from Second City, and that their funniest work is actually inspired from honest, mundane and even dark real-life situations."
Timing Is Everything
Holds, stops or stillness can punctuate humorous moments, according to Napoleon and Tabitha D'umo, the choreographic duo known as Nappytabs. They recall "So You Think You Can Dance" winner Fik-Shun doing this: "He took this funny approach to a hip isolation that reminded you of a girl, and then he just froze and opened his mouth for a beat, like 'Ha,' " says Napoleon. "The audience had time to be like 'Oh, did he just do that?' " Extend a funny moment by creating a definitive break in the action, then play with how long you remain still—does it get funnier the longer you hold it?
Parker sometimes works without music, which he feels can allow for a more intimate connection with the people in the theater. "There's a more flexible exchange of energy between the dancers and the audience," he says. "The audience reacts and the dancers can actually adjust their timing to play off that reaction."
Kill Your Darlings
"As a choreographer, you're responsible for making the material funny before the dancer gets into it," says Tabitha. But every choreographer makes missteps. "We've realized our work is funnier if it's super-subtle," says Napoleon. "We tried to do big humor in a performance where someone's pants got pulled down. It was just awkward!" Williams thinks the dance world could take inspiration from improv comedy on this score. "In Second City's process, they're very used to trying out a scene in a show, and if it doesn't work, they just take it out. It's no big deal." She contrasts that with choreographers, who try to think everything through before a piece goes onstage—a setup that could lead to overworking humor. Workshop your piece with friends, colleagues or informal showing groups. Attempt more and keep less.
Nappytabs like to find funny ways of contrasting the vibe or lyrics of a song with a completely opposite tone in the dancer's movement. Maybe it's a typical dad dancing down the street to a hardcore song, and he really thinks he's getting down. Parker likes to mash up things that don't seem to go together at all—like a man in a suit jacket, bare legs and pointe shoes, trying to master the use of the lower half of his body. "It just takes a subtle shift in perception, or a sudden recognition of incongruity," he says. "When you take two disparate things and juxtapose them in one phrase, it makes people giddy."
Stick the Role, Without the Shtick
Not trying to be funny is the first rule of performing humorous work. This is probably where the mystery starts for many dancers. Williams explains: "We built a scene where one dancer was a coat hanger, another was a computer screen and a third was a mirror, and we had to be honest to the task." It would usually land someplace funnier than the dancer intended.
Though the audience probably knows when to expect a humorous performance, that doesn't mean you should ham it up. "The trick is actually to play it straight. Remember that the material is funny, and if you do what's required of you with great material, you'll get laughs without being campy," says Clinton Luckett, assistant artistic director and longtime ballet master at American Ballet Theatre.
There's no substitute for natural comedy instincts, but talented dancers can be coached. "A hammy performance can be scaled back, and a reserved performer can be coaxed to exaggerate and broaden their range," says Luckett. "Sometimes it's a matter of pushing past their autoresponse of wanting to be pretty and getting them to be okay with looking silly, slouchy and turned-in. Dancers have a fine awareness of timing and musicality, too, so you can identify places where doing the step quicker or holding something for longer creates a comedic moment."
In rehearsal, you won't have a laugh track, but this is the place to experiment. "At times, we deliberately lampoon what we're doing—daring each other to go too far—as a kind of research," says Parker. "But if the moment is funny, it can almost certainly be played honestly in rehearsal without an audience. Believe in the essence of what you're doing, whether funny or not." And once you have the movement, trust it, says Napoleon. "If you're killing it, the audience will respond."
Online video game Fortnite is involved in serious controversy over its "emotes" dance feature. Even if you're not a gamer, this is a case choreographers should keep close tabs on. Here's why.
Let us quickly introduce you to Fortnite Battle Royale: The video game sprung up in September 2017 and has grown to insane levels of popularity. It's free to play and features 100 users duking it out to be the last person standing. But here's the catch: If you want to get ahead, you have to make in-game purchases, trading real money for V-Bucks, which you use to redeem things like weapons.
So what's it got to do with dance? A whole lot. One of Fortnite's most popular—and lucrative—features is its emotes, animated dances that users can purchase to perform on the battlefield. Many are taken directly from pop culture, and Fortnite's developer, Epic Games, is in the midst of a heated lawsuit regarding its Swipe It emote. After much public debate, rapper 2 Milly filed a suit last week claiming that Epic Games stole—and is now largely profiting from—the Milly Rock, a dance move he created and popularized, without his permission. Take a look:
It's the 60th anniversary of the Alvin Ailey American Dance Theater, and their season at New York City Center is going strong with more than 20 works—including world premieres and company premieres.
Ronald K. Brown, who just received a Dance Magazine Award, has made his seventh work for Ailey, The Call. It's a gorgeous pastiche of three different types of music: Bach, jazz by singer Mary Lou Williams and Malian music by Asase Yaa Entertainment Group.
If a teacher or choreographer has ever commented that your dancing looks stiff, the problem could be that you aren't breathing effectively. "When dancers aren't breathing, their shoulders are up and there's no length in their movement. They start to look like they're just waiting to get to the next thing," says Maria Bai, artistic director of Central Park Dance in New York.
It may seem like a no-brainer—of course you can't move without breathing. But beginning dancers often hold their breath because they are so focused on picking up choreography, says Sarah Skaggs, director of dance at Dickinson College. Even advanced dancers can benefit from focusing more on their breath. "Sometimes they are paying so much attention to what their limbs are doing that they forget about the lungs, the chest, the trunk. Breath is the last thing they're thinking about, but really it should be the first," says Skaggs. The more integrated your breathing is, the more relaxed and present you will feel.
I've been a fan of Jordan Isadore's for about a decade. His gorgeous, spine-contorting renditions of Christopher Williams' repertory are legendary, and for many years I had the privilege of making dances with him and producing his works through DanceNOW[NYC].
Over the last year or so, as he began winding down his performance career, Isadore began making odd, phenomenal objects: dribs of Labanotation scores rendered as hung mobiles, gorgeously crafted in stained glass and metal. The designs are stunning, imbued simultaneously with a hipster-nonsense contemporaneousness and reverence for dance history.
I spoke with Isadore about his retirement from the stage, and transition to crafting full time.
There's always that fateful day each year, usually in February or March, when ballet contracts are renewed. Dancers file into an office one by one, grab an envelope and sign their name on a nearby sheet of paper to signify the receipt of their fate. Inside that envelope is a contract for next season or a letter stating that their artistic contribution will no longer be needed. This yearly ritual is filled with anxiety and is usually followed by either celebratory frolicking or resumé writing.
Whenever I received my contract, I would throw up my hands joyfully knowing that I would get to spend one more year dancing. In 14 years at Boston Ballet, I never once looked at my pay rate when signing a contract. The thought of assessing my work through my salary never crossed my mind.
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Watching Bohemian Rhapsody through the eyes of dancer, there's a certain element of the movie that's impossible to ignore: Rami Malek's physical performance of Freddie Mercury. The way he so completely embodies the nuances of the rock star is simply mind-blowing. We had to learn how he did it, so we called up Polly Bennett, the movement director who coached him through the entire process.
In a bit of serendipitous timing, while we were on the phone, she got a text from Malek that he had just been nominated for a Golden Globe. And during our chat, it became quite clear that she had obviously been a major part of that—more than we could have ever imagined.
What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.
Here they are: the 25 up-and-coming artists we believe represent the future of our field.
Even if you haven't heard her name, you've almost certainly seen the work of commercial choreographer James Alsop. Though she's made award-winning dances for Beyoncé ("Run the World," anyone?) and worked with stars like Lady GaGa and Janelle Monae, Alsop's most recent project may be her most powerful: A moving music video for Everytown for Gun Safety, directed by Ezra Hurwitz and featuring students from the National Dance Institute.
We caught up with Alsop for our "Spotlight" series:
Today, we are thrilled to announce the honorees of the 2018 Dance Magazine Awards. A tradition dating back to 1954, the Dance Magazine Awards celebrate the living legends who have made a lasting impact on dance. This year's honorees include:
Each year, The New York Times Magazine shines a spotlight on who they deem to be the best actors of the year in its Great Performers series. But, what we're wondering is, can they dance? Thankfully, the NYT Mag recruited none other than Justin Peck to put them to the test.
Peck choreographed and directed a series of 10 short dance films, placing megastars in everyday situations: riding the subway, getting out of bed in the morning, waiting at a doctor's office.
On busy performance days, international guest artist Joy Womack always makes time for one activity after class and rehearsals: a nap. "I like to feel well-rested when I need to be in the spotlight at night, not dragging at the end of the day," she says. "It helps me recover and refocus."
With her earbuds tuned to a guided meditation app, she can squeeze in a nap wherever she needs to. "One time I even took a nap on the floor of the tour bus in Siberia," she says. "Dancers can sleep anywhere."
Joy Womack prioritizes napping before a show. Photo by Quinn Wharton for Pointe magazine.
As research has revealed the benefits of short daytime naps, power-napping advice has proliferated, and more dancers are choosing to include a nap in their pre-performance routines. Approaching napping strategically will help you get the most out of an afternoon snooze.
On Monday night, a memorial was held at Riverside Church to honor the life and achievements of Dance Theatre of Harlem co-founder Arthur Mitchell. With nearly three months to process and grieve (Mitchell passed away on September 19) the atmosphere was not that of mourning as much as reflection, reverence and admiration for who he was, what he built and what remains. (Watch the full livestream here.)
The church filled with family, artistic friends, fans and admirers. What was most gratifying was the volume of DTH alumni from the school, company and organization who traveled across the globe to pay their respects, from founding members to present dancers and students. The house of worship was filled with the sentiment of a family reunion. As Mitchell was sent home, it was a homecoming for many who have not shared air together in decades. What was palpable was the authentic bonds that Dance Theatre of Harlem and Mitchell fostered in all.
It's become a colloquialism—or, we admit, a cliche—to say that dance can heal.
But with a new initiative launched by British Health Secretary Matt Hancock, doctors in the U.K. will soon be able to prescribe dance classes—along with art, music, sports, gardening and more—for patients suffering from conditions as various as dementia, lung problems and mental health issues.
If the news about the upcoming CATS movie has your head spinning, we're right there with you. It seems like every week we have a bit more to share about the new film adaptation, which is set to release in December 2019. So, in order to keep it all straight, we present you with our master list of everything we know—our version of "The Naming of Cats," if you will. We'll add updates as they emerge.
A list of Clara alumnae from Radio City's Christmas Spectacular reads like a star-studded, international gala program: Tiler Peck and Brittany Pollack of New York City Ballet (and Broadway), Meaghan Grace Hinkis of The Royal Ballet, Whitney Jensen of Norwegian National Ballet and more. Madison Square Garden's casting requirements for the role are simple: The dancer should be 4' 10" and under, appear to be 14 years old or younger and have strong ballet technique and pointework.
The unspoken requisite? They need abundant tenacity at a very young age.
Fans of the sublime English National Ballet first artist Precious Adams were probably excited to see her image splashed across the company's website in a promotional image for an upcoming production of Swan Lake.
But those who took a closer look were met with a disappointing reality: Adams, who is the only black woman in the company, is not listed on the principal casting sheet for the production.
Gennadi Nedvigin is not the only early tenure director breaking out a new production of The Nutcracker this season.
We love The Nutcracker as much as the next person, but that perennial holiday classic isn't the only thing making its way onstage this month. Here are five alternatives that piqued our editors' curiosity.
The Nutcracker is synonymous with American ballet. So when Gennadi Nedvigin took the helm at Atlanta Ballet in 2016, a new version of the holiday classic was one of his top priorities. This month, evidence of two years' worth of changes will appear when the company unwraps its latest version at Atlanta's Fox Theatre Dec. 8–24. Choreographed by Yuri Possokhov and produced on a larger-than-ever scale for Atlanta, the new ballet represents Nedvigin's big ambitions.
Ballet Hispánico returns to the famed Apollo Theater in Harlem with its full-length ballet, CARMEN.maquia. Spanish choreographer Gustavo Ramirez Sansano has reenvisioned the story of Carmen to emphasize Don José, the man who falls in love with Carmen, suffers because of her infidelity, then murders her in a "fit of passion." Their duets are filled with all the sensuality, jealousy and violence you could wish for—in a totally contemporary dance language.
Sansano's previous piece for Ballet Hispánico, El Beso, bloomed with a thousand playful and witty ways of expressing desire. He has a knack for splicing humor into romance.
Not being able to attend the in-person audition at your top college can feel like the end of the world. But while it's true that going to the live audition is ideal, you can still make the best out of sending a video. Here are some of the perks: