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Andy Blankenbuehler Brings His Choreographic Talents to Bandstand
It doesn't look like your great-grandfather's jitterbug. Yes, the year is 1945, and yes, the setting is a jazz club. But these swing dancers are in the new musical Bandstand, directed and choreographed by Andy Blankenbuehler. The number, "Nobody," is a paean to determination—"You know who tells me, 'Stop'? Nobody."
The choreography begins as metaphor and then becomes literal as the band members, revved up by the song, perform it for the dancers at the club. It's complicated and entirely fresh, avoiding familiar jitterbug tropes without ever abandoning the period feel.
Little wonder: Blankenbuehler, whose first director/choreographer outing was Bring It On: The Musical, says his influences included Judy Garland's "Get Happy" and Michael Jackson's "Smooth Criminal." ("I'm imitating Michael Jackson imitating Fred Astaire.")
Photo by Rachel Papo
And when a painstaking perfectionist digresses, there's always a reason. "The music is pushing from the late '40s into the '50s," he explains, "so choreographically I've done the same thing."
Because Blankenbuehler has worked with these dancers before, some when the musical opened in 2015 at New Jersey's Paper Mill Playhouse, they understand his shorthand.
Urging them to be more "hieroglyphic," or asking for "African knees," he stops to adjust not only big stuff—the angle of a pelvis or the hike of a shoulder—but tiny details, like the tilt of a chin. And flying chairs, clothes, mike stands and musical instruments are being choreographed along with bodies. (No need to mention Blankenbuehler's trademark hats.)
Photo by Rachel Papo
Those instruments are key—Bandstand centers on Donny (Corey Cott), a musician who returns from the fighting in Europe and starts a dance band with other war-damaged veterans and the widow (Laura Osnes) of one who never came back. The cast acts, sings and dances, of course, but those playing musicians are musicians.
There's an orchestra in the pit, but when Donny and his band perform the songs, by the authors Richard Oberacker and Robert Taylor, they're not just pretending.
"It is like no other show this season," Blankenbuehler says. "It's easy to dig into the characters and the subject matter and the fact that the musicians are playing live onstage. All that stuff makes the piece really individual."
Blankenbuehler's involvement began in 1976, well before his choreography Tonys for In the Heights and Hamilton. He was in first grade and met David Kreppel, Bandstand's vocal arranger. They played soccer, had sleepovers and shared a love of musical theater.
Photo by Rachel Papo
As high school juniors, they attended a theater camp at the University of Cincinnati, where they met Oberacker. "I was in touch with them for, like, 20 years," Blankenbuehler says, "but we never worked together." Then they called to say they'd just finished a draft of a show that really needed a director/choreographer. "They knew I had a passion for swing material that I hadn't really gotten to tap into," he says.
The show was developed through readings, a Lincoln Center workshop, then Paper Mill—in three and a half years, relatively fast. And only now, Blankenbuehler says, is he getting "Nobody" where he wants it. "I spent a lot of calories on work that went by the wayside," he says. "And that can be a tiring process. But that's how you find a show."
When a second-act love song for Osnes was troubling him, he couldn't figure out why. "So I staged it fully and turned it into a little bit of a dream ballet." It was "a beautiful dance" that never felt right, he notes, until he moved the song into Act I and cut the dance.
"I want the material to move so much I often have to go through the exercise of choreographing it to understand it," he says. He illustrates the point by recounting how he arrived at a three-count transition in Hamilton: He choreographed a 45-second version that helped him "realize what was and what was not important."
Photo by Rachel Papo
He sometimes feels he's wasting hours of his life, he admits, "but I actually like asking myself hard questions in the dance studio."
His original version of "Nobody" also set off his alarms, and the current one includes "lots of improvements," he says. "When a moment doesn't truly come from character, it's inherently false. I know that I'm just making a showbiz moment. And I don't want to just make a showbiz moment...I want it to come from the story."
The Bandstand story is not just about veterans haunted by what they've experienced in war, he says. "Our show is about how people turn to their art both to pay the rent and to treat their souls."
Photo by Rachel Papo
His own soul is doing well, thank you very much. "It feels like a good time for me," he says. "I just turned 47, and I still feel great and I'm dancing hard. But it feels I can now really think about the depth of my work."
One of the biggest myths about ballet dancers is that they don't eat. While we all know that, yes, there are those who do struggle with body image issues and eating disorders, most healthy dancers love food—and eat plenty of it to fuel their busy schedules.
Luckily for us, they're not afraid to show it:
Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals are loving how versatile and supportive these shoes are! Pro tip: The heel is centered under the body so you can feel confident and stable!
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
What does a superstar like Carlos Acosta do after bidding farewell to his career in classical ballet? In Acosta's case, he returns to his native country, Cuba, to funnel his fame, connections and prodigious energies back into the dance scene that formed him. Because of its top-notch, state-supported training programs and popular embrace of the art of dance, Cuba is brimming with talented dancers. What it has been short on, until recently, are opportunities outside of the mainstream companies, as well as access to a more international repertoire. That is changing now, and, with the creation of Acosta Danza, launched in 2016, Acosta is determined to open the doors even wider to new ideas and audiences.
There's so much more to the dance world than making and performing dances. Arts administrators do everything from raising money to managing companies to building new audiences. With the growing number of arts administration programs in colleges, dancers have an opportunity to position themselves for a multifaceted career on- or offstage—and to bring their unique perspective as artists to administrative work.
While Solange was busy helping big sis Beyoncé give Coachella its best performances of all time, an equally compelling project was quietly circulating on Instagram:
New York City Ballet continues its first year without Peter Martins at the helm as our spring season opens tonight.
When he retired at the start of the new year, we plunged headfirst into unknown, murky waters. Who would the new director be? When would we know? Would we dancers get some say in the decision? Who would oversee the Balanchine ballets? Who would be in charge of casting? Would a new director bring along huge upheaval? Could some of us be out of a job?
In the world of ballet, Arcadian Broad is a one-stop shop: He'll come up with a story, compose its music, choreograph the movement and dance it himself. But then Broad has always been a master of versatility. As a teenager he juggled school, dance and—after the departure of his father—financial responsibility. It was Broad's income from dancing that kept his family afloat. Fast-forward six years and things are far more stable. Broad now lives on his own in an apartment, but you can usually find him in the studio.
Bales of hay, black umbrellas, bicycles—this Midsummer Night's Dream would be unrecognizable to the Bard. Alexander Ekman's full-length, inspired by Scandinavian solstice traditions and set to music by Mikael Karlsson, is a madcap celebration of the longest day of the year, when the veil between our world and that of the supernatural is said to be at its thinnest. The Joffrey Ballet's performances mark the seductively surreal work's North American premiere. April 25–May 6. joffrey.org.