How Joshua Bergasse Won The Golden Ticket
He's the Emmy-winning, Tony-nominated Joshua Bergasse in the playbill, but just "Josh Bergasse" (pronounced bare-GAHSS) when he affably introduces himself to the 70 people assembled at Broadway Dance Center for his advanced theater class.
They know who he is, of course, and it's the reason they're there. Reese Snow, BDC's associate executive director, calls him "one of the finest theater teachers in New York." He's also the choreographer of the Broadway shows Gigi and On the Town (for which he won the Astaire Award and that Tony nomination), the off-Broadway hits Cagney and Sweet Charity, the NBC series "Smash," and the new musical Charlie and the Chocolate Factory, opening this month at the Lunt-Fontanne Theatre.
Bergasse puts on Adele and starts a strenuous, fluid warm-up to prepare the class for the taxing but lyrical combinations they will dance to Sammy Davis Jr.'s swing-happy rendition of "The Goin's Great," from 1969. "A lot of my movement has fast directional changes, so I try to get their thighs and core really strong and warm," he says.
Bergasse leading rehearsal. Photo by Jenny Anderson, Courtesy On The Town
As Bergasse begins the routine, it's clear that he's still, at 44, a beautiful dancer with a sleek line. You see how he landed three separate productions of West Side Story—often as a 5' 5" Baby John—and other musicals, some on Broadway, some not. Even back then, when not performing he was choreographing—summer theater, regional theater, Florida, Massachusetts.
He says he likes to tell aspiring choreographers about the years spent traipsing around the country, "because I don't want them to think they've just got to get that show. Life isn't necessarily winning 'American Idol.' Sometimes you just have to put the work in."
Bergasse started putting the work in as a child, taking tap, jazz and ballet at Annette and Company School of Dance, in Farmington Hills, Michigan, outside Detroit. Annette is his mother, and by the time Bergasse was 15 or 16, he was teaching and choreographing recitals. "That's when I got the bug," he says. (Every so often, when he returns home, he teaches a class.)
His choreographic touchstones from the start were the movie musicals he watched "over and over, not realizing what I was learning—watching because I loved it. And now when I choreograph, that's all a part of me." His heroes: Michael Kidd, Hermes Pan, Gene Kelly, Fred Astaire "and, of course, Bob Fosse."
But when he choreographed the recent off-Broadway revival of Sweet Charity, he opted not to echo or redo Fosse's choreography. "Before we opened," he says, "I watched the movie, to make sure I hadn't inadvertently done his choreography, because I'd seen it so many times."
Sweet Charity. Photo by Monique Carbon, Courtesy Th Cooper Company
But when a step looked familiar, he discovered he'd "done it in a different number in a slightly different way." It made him realize, he says, "how much these influences from that time were important to my development as a choreographer." On the Town was less daunting, he says, because the Jerome Robbins choreography is not as well documented. And doing it gave him particular joy because, he says, "dance was a major part of the storytelling. It was written that way."
Another influence was being a swing in Hairspray. Learning all of the tracks helped Bergasse "to understand the bigger picture of how the staging operates, how a big show functions." That's also where he first worked with Tony-winning director Jack O'Brien. O'Brien remembers him as bright, energetic, focused. "But I had no idea what his gifts were as a choreographer."
Those became apparent, O'Brien says, when he saw On the Town. "It's great fun to watch people growing and flowering," which he did firsthand in 2014 for a Carnegie Hall benefit concert of Guys and Dolls. "Josh had no space, because the entire symphonic orchestra was onstage," O'Brien recalls. He didn't expect much from the huge "Luck Be a Lady" dance number, but it was "ravishing," he says. "It had attack, it had masculine edge, it had danger, and it was done on the head of a pin."
O'Brien is Charlie and the Chocolate Factory's director, and Bergasse surprised him again when they did a workshop in June. O'Brien expected three or four numbers, but "in three weeks he did everything. I mean capital EVERYTHING, exclamation point, close quote. It was not a sketch—it was a cornucopia of originality."
The show is based on the 1964 Roald Dahl book Charlie and the Chocolate Factory, which became a 1971 movie musical starring Gene Wilder, Willy Wonka and the Chocolate Factory, and a 2005 Tim Burton film with Johnny Depp. The stage version, with songs by Tony-winning Hairspray team Marc Shaiman and Scott Wittman, direction by Sam Mendes and choreography by Billy Elliot's Peter Darling, opened in London in 2013, to mixed reviews.
The Broadway team has completely retooled it, Bergasse says. "We decided, Let's go back to the book for this, let's go back to the film, figuring which pieces of the puzzle are best for our version." There's also some new music, and, Bergasse says, "it has a different feel to it, very American. I think we have added a little more brightness and lightness."
Bergasse says he's usually drawn to a project by the collaborators and the story, and working alongside O'Brien was a dream come true. "Jack makes people feel they're the most important person in the room. You feel safe to try things, you feel like you can do your best work."
Without knowing it, he's echoing what dancers say about him. Khori Petinaud, currently in Aladdin, did the Charlie workshop and worked on pre-production for Gigi. "He never made me feel like my input was not important," she says. "He pushes, but he's so friendly and warm. He jokes around." She's a regular at his classes, too, because, she says, "they are so extremely challenging." She cites not only the "immense amount of steps in a small amount of time," but also his musicality: "It's not basic, and when you finally hit it in the right way, it's so exciting."
Gigi. Photo by Joan Marcus, courtesy Boneau/Bryan-Brown
"I like finding my material in the dancers," Bergasse says. "Something indigenous to them. My philosophy is, 'If it's something I can do, then I've probably already done it.' So let me find something new on you. Or let me help you create something."
Like Petinaud, he enjoyed the sense of ownership when choreographers encouraged him to contribute to the process. "Not all dancers are good with that. They want steps: 'Tell me what to do,' five-six-seven-eight." Bergasse looks for dancers "who will just do anything, just jump around inventing things."
But there's more to being a choreographer than jumping around. He devoted over a year to Charlie before rehearsals began, but only six weeks in the studio with dancers. "You never think, when you're coming up, that you're going to spend so much time in boardrooms," he says. "You'll be going from meeting to meeting to fitting. All the props and all the costumes have to be planned out before you start."
With Charlie finally up and running, Bergasse will turn to musicals he says are "circling for a landing." There's Bull Durham, based on the 1988 baseball movie that starred Susan Sarandon and Kevin Costner; Smokey Joe's Cafe, a revival of the 1995 hit created from the songs of Leiber and Stoller; and The Honeymooners, derived from Jackie Gleason's classic '50s sitcom about a Brooklyn bus driver.
Like his other credits, they're a study in contrasting themes and styles—the frilly charm of Gigi was nowhere visible in On the Town, and the exuberant tap in Cagney made no appearance in Sweet Charity. "A jack-of-all-trades and master of none," he jokes. More seriously, he adds, "I try not to get stuck doing one thing. I like to think of myself as a chameleon."
Cagney. Photo by Carol Rosegg, Courtesy Keith Sherman and Associates
He's also developing a theater project "with a lot of dance" with his fiancée, New York City Ballet star Sara Mearns. At this point he can't say much more than, "It will showcase Sara beautifully." They're hoping it will be ready in another year or so.
"She's just so wonderful and so brilliant," he says, "that sometimes it's intimidating. But I can help her with certain things—certain theater things. And she helps me with certain things. I like to say she's my choreography consultant. I'll say, 'I need you to look at this, because it's not working—tell me how to fix it.' She'll look at it, and she'll know like that." At the final word, he snaps his fingers, adding, "She just lives and breathes all things movement." Sometimes, he says, he lets her make the fix herself. When he's in rehearsal, he says, they'd barely see each other if she didn't come to the theater. "Sometimes she'll sit through tech and sew her pointe shoes."
He got to have some fun with pointe shoes in Charlie, in a satirical ballet for Veruca Salt. She's one of four obnoxious children who compete with the hero, Charlie Bucket, to win a lifetime supply of chocolate from Willy Wonka. Another contender, Augustus Gloop, is Bavarian, and for his number, Bergasse researched cuckoo clocks and gave the dancers complex hand-slapping routines based on traditional Bavarian folk dances. He had to choreograph a pas de deux with no touching for Charlie's mother and the ghost of his father—and a dance for his bed-ridden grandfather. He also collaborated with acclaimed puppeteer Basil Twist on choreography for Willy's factory workers, the Oompa-Loompas. These are strange assignments for a choreographer, but Bergasse embraced them. "My favorite thing is to tell a story," he says.
Adji Cissoko has the alchemical blend of willowy limbs and earthy musicality you expect from a dancer in Alonzo King LINES Ballet. But she also has something more—a joy in dancing that makes every step feel immediate.
"She has this soulful quality of an ancient spirit coming through her body," says LINES chief executive officer Muriel Maffre, a former prima ballerina with San Francisco Ballet. "She's fearless, which is fun to work with," says artistic director Alonzo King. "I don't know how to put it into words— she's herself."
So you're on layoff—or, let's be real, you just don't feel like going to the studio—and you decide you're going to take class from home. Easy enough, right? All you need is an empty room and some music tracks on your iPhone, right?
Wrong. Anyone who has attempted this feat can tell you that taking class at home—or even just giving yourself class in general—is easier said than done. But with the right tools, it's totally doable—and can be totally rewarding.
When Jan Fabre's troupe Troubleyn presents his Mount Olympus: To glorify the cult of tragedy (a 24 hour performance) at NYU Skirball tomorrow it does so under a heavy cloud of controversy.
Fabre is a celebrated Belgian multidisciplinary artist who has been honored as Grand Officer in the Order of the Crown, one of the country's highest honors. His visual art has been displayed at the Louvre and at the Hermitage in St. Petersburg. According to The New York Times, his dance company, Troubleyn, receives about $1 million a year from the Belgian government.
But in an open letter posted to Belgian magazine Rekto Verso just a few months ago, 20 of his company's current and former dancers outline a horrific culture of sexual harassment, bullying and coercion. This comes on the heels of similar accusations at New York City Ballet and Paris Opèra Ballet.
It's contest time! You could win your choice of Apolla Shocks (up to 100 pairs) for your whole studio! Apolla Performance believes dancers are artists AND athletes—wearing Apolla Shocks helps you be both! Apolla Shocks are footwear for dancers infused with sports science technology while maintaining a dancer's traditions and lines. They provide support, protection and traction that doesn't exist anywhere else for dancers, helping them dance longer and stronger. Apolla wants to get your ENTIRE studio protected and supported in Apolla Shocks! How? Follow these steps:
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:
Earlier this week, New York City Ballet principal Tiler Peck gave us some major onstage makeup inspiration while attending an offstage event. While walking the red carpet at the CFDA/Vogue Fashion Fund gala, Peck's beauty look was still perfectly suited for the ballet with her top knot hairstyle and stage-worthy red lip. Peck's makeup artist for the night, Daniel Duran, shared his exact breakdown on the look, working exclusively with beauty brand Chantecaille. So, whether you're in need of a waterproof brow pencil, volumizing mascara or long-lasting red lip this Nutcracker season, we've got you covered.
There's a new tool that lets amputee ballet dancers perform on pointe. As reported in Dezeen, an architecture and design magazine, industrial designer Jae-Hyun An has created a prosthesis he calls the "Marie . T" (after Marie Taglioni, of course) that allows dancers with below-the-knee amputations to do pointe work.
A carbon fiber calf absorbs shock while a stainless steel toe and rubber platform allow a dancer to both turn and grip the floor to maintain balance. What it doesn't allow the dancer to do? Roll down to demi-pointe or flat.
Former chair of New York University's Tisch School of the Arts dance department Linda Tarnay died on Tuesday, November 6. Her wish was to have her ashes interred in the columbarium at St. Mark's Church-in-the-Bowery—the site of Danspace Project and just a few blocks away from the Tisch dance building.
Before her 35 years of teaching at NYU, Tarnay was a founding member of Dance Theater Workshop. She performed with choreographers like Anna Sokolow, Phyllis Lamhut and Jamie Cunningham. She also started her own company, Linda Tarnay and Dancers, and was an artist-in-residence at The Yard.
Margaret Selby never dreamed that her passion for dance would lead her everywhere from working on live TV specials like the Macy's Thanksgiving Day Parade to producing hip-hop musical Jam on the Groove, from Columbia Artists Management, Inc., to public TV's "Great Performances: Dance in America."
Now, through her company Selby/Artists MGMT, she helps clients like Dorrance Dance, MOMIX and Pacific Northwest Ballet navigate the behind-the-scenes elements that get their work onstage, like booking tours, marketing and planning upcoming seasons.
According to the new documentary DANSEUR, 85% of males who study dance in the United States are bullied or harassed. A quote in the film from Dr. Doug Risner, faculty member at Wayne State University, states, "If this scope of bullying occurred in any activity other than dance, it would be considered a public health crisis by the CDC."
So why is it allowed to persist in ballet? And why aren't we talking about it more? These are the questions that DANSEUR seeks to answer. But primarily consisting of dance footage and interviews with male dancers like ABT's James Whiteside, Houston Ballet's Harper Watters and Boston Ballet's Derek Dunn, the film only addresses these issues superficially, with anecdotes about individual experiences and generalizations about what it's like to be a male dancer.
When you're unable to dance, it's easy to feel like you're falling behind and losing out on opportunities. But this can be a time to reset your body and come back even stronger, says Ilana Goldman, BFA program director at Florida State University's School of Dance. "Some of the greatest leaps I made in my technique happened because of injuries," she says. "Learning how to deal with them is part of being a professional dancer."
Dancers are human, which means they're bound to make mistakes from time to time, both on and off the stage. But what happens when those mistakes burn bridges? In an industry so small, is it possible for choreographers and performers to recover?In a moment of vulnerability, three-time Emmy Award winning choreographer Mia Michaels opened up to Dance Magazine about some of the bridges she herself has burned, the lengths she's gone to in order to rebuild and the peace she's made with the new direction her career has taken because of them. —Haley Hilton
Are auditions rigged? Sometimes I see mediocre dancers make it into a company, and I just don't get it. The audition process is unnerving for me without feedback or any understanding of the rules.
—Madison, Santa Monica, CA
Raise your hand if you've received bad advice from well-meaning friends or family (or strangers, tbh) who don't know anything about what it really takes to be a dancer.
*everyone raises hands*
Sometimes it's even dance insiders whose advice can send you down the wrong path. We've been asking pros about the worst advice they've ever received in our "Spotlight" Q&A series, and rounded up some of the best answers:
Where in the world is Miko Fogarty? Just three years ago, she seemed unstoppable. After being featured in the 2011 ballet documentary First Position, she became a teenage social-media star, winning top prizes at competitions in Moscow and Varna and at Youth American Grand Prix, and dancing in galas around the world. Last most of us heard, it was 2015 and she had just joined the corps of Birmingham Royal Ballet. A year later, she dropped off the ballet radar.
Turns out Fogarty, now 21, was taking time off to reevaluate her life, including the role she wanted ballet to play in it. She is now starting her junior year as a biology major at University of California—Berkeley and is considering going to medical school. (Her brother and fellow First Position subject, 19-year-old Jules, is a junior in the Berkeley economics department.) On the side she teaches private ballet lessons and gives master classes, and is the part-time conservatory director at San Jose Dance International, a new school in the San Francisco Bay Area led by artistic director Yu Xin. We caught up with her by phone.
New York City Ballet fired principal dancers Amar Ramasar and Zachary Catazaro on Saturday. Both had initially been suspended until 2019 for engaging in "inappropriate communications," while principal Chase Finlay, who was the instigator of those communications, resigned. (Although, in a statement on Saturday, NYCB made it clear they had decided to terminate Finlay prior to his resignation.)
The New York Times reports that NYCB says the change from suspension to termination resulted from hearing the concerns of dancers, staff members and others in the NYCB community. Yet it's hard to ignore the fact that a lawsuit against NYCB had been filed in the meantime. A statement from NYCB executive director Katherine Brown and interim artistic team leader Jonathan Stafford stated:
"We have no higher obligation than to ensure that our dancers and staff have a workplace where they feel respected and valued, and we are committed to providing that environment for all employees of New York City Ballet."
Since the news was announced, both Catazaro and Ramasar have spoken out publicly about being fired.
In dance, pushing through pain is often glorified. Dancers can be reluctant to take time off when sick or injured for fear of missing out on opportunities. It can feel even harder to justify when the pain isn't physical. Though it's becoming more commonly acknowledged that mental health is just as important as physical health, a dance career doesn't leave much time to address mental or emotional issues.
But dancers need to take care of their mental well-being to be able to perform at their best, says Catherine Drury, a licensed clinical social worker for The Dancers' Resource at The Actors Fund. So what can you do if you need a mental health day?
The fall performance season continues at breakneck speed with everything from an international ballet company making its U.S. debut to a retrospective on one of New York City's most iconic dancemakers—not to mention more than a few intriguing new works. Here's what we've got pencilled in.
Yabin Wang converts movement into liquid that spills across the stage. A celebrity in her home country of China, this choreographer, dancer and actress has helped to pioneer modern dance there by blending Chinese classical and contemporary dance. Wang's international career was kick-started in 2010 at American Dance Festival, where she returned this summer to perform on a shared program with Michelle Dorrance, Aparna Ramaswamy, Rhapsody James and Camille A. Brown. She has also worked with Sidi Larbi Cherkaoui on Genesis and was commissioned by English National Ballet to create a piece for its Olivier Award–winning She Said program. This month, she is back stateside for the U.S. premiere of her Moon Opera, Nov. 3 in Pittsburgh.
It's the casting news we didn't know we needed until we heard it. Ever since it was announced that Wayne McGregor would be choreographing the new film adaptation of CATS, we've been anxiously waiting to hear whether any recognizable names from the dance world would be joining the A-list cast (which, in case you missed it, already includes Jennifer Hudson, Sir Ian McKellan, Taylor Swift and James Corden). But never in our wildest dreams did we think that a Royal Ballet principal would be the first dancer to sign on.
The wait for Disney's reimagining of The Nutcracker is over. Although The Nutcracker and The Four Realms is not a full-length ballet, woven into the plot is a five-minute performance by megastars Misty Copeland and Sergei Polunin alongside 18 supporting dancers, with a CGI Mouse King moved by jookin sensation Lil Buck (aka Charles Riley). Royal Ballet artist in residence Liam Scarlett led the film's choreography in his first major motion picture experience. "It was a call I didn't expect to get," says Scarlett. "I really am the biggest Disney fan, so I couldn't believe it!"