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A "West Side Story" Movie Is in the Works. Here's What We Know So Far.
We'll admit it: When we peruse Broadway's offerings each season, sometimes we bemoan the lack of original stories being portrayed onstage. Songbook musicals, revivals, or shows based on existing TV series or films have become a stronghold (and often a sure bet) for Broadway producers. But when a good redux comes along—like this season's surprisingly delightful SpongeBob SquarePants, based on the TV show of the same name—we can appreciate that.
Now, the silver screen has come knocking on Broadway's door for the reverse scenario: film adaptations of smash stage musicals. It's certainly nothing new, but right now there's a deluge of musicals that have nascent Hollywood dreams. The process can take years (and many stories die along the way), but there are a few exciting movies in the pipeline that we think have a pretty good chance of succeeding.
Many musicals have rumored movie adaptations in the works, but these six have had the most recent status updates.
West Side Story
With Steven Spielberg directing and a screenplay by Tony Kushner, we bet this project has legs. Another good sign: The team recently put out a casting call for the leads of Tony, Maria, Bernardo and Anita.
Our biggest question: Who will choreograph? Since Jerome Robbins' moves are so iconic, we hope much of the original choreography is retained. Someone will likely be brought in to make changes—small or large. Might it be Joshua Bergasse, who put his spin on Robbins' choreo for On the Town? Or maybe Justin Peck, who's making his inaugural Broadway move with this spring's Carousel?
Georgina Pazcoguin brought balletic finesse to Victoria on Broadway. Photo by Matthew Murphy, Courtesy CATS.
Practical cats, dramatical cats, pragmatical cats, fanatical cats. With CATS fresh off a successful Broadway revival, why not make another movie featuring these dance-savvy felines? Andrew Lloyd Webber seems to be on board. Earlier this month we learned that the famous composer has penned a new song for inclusion in the supposed film remake. Good news for dancers: It's a song for Victoria, the most balletic cat of them all. We'd love to see her character expanded.
A scene from Disney's Aladdin on Broadway. Via Aladdin.
Although this Aladdin is based off the 1992 animated movie, of all the musicals gunning for the big screen, it's the furthest along in the process. It's currently in production with a release date set for May 24, 2019. Plus, Big-Willie-style is all over this movie. Yes, Will Smith is playing the Genie. Along with the original singalong-worthy tunes, expect additions from Benj Pasek and Justin Paul, the award-winning duo behind Dear Evan Hansen and The Greatest Showman. Jamal Sims, of the Step Up franchise, is choreographing, so that hopefully means there will be plenty of dancing.
Come From Away
Come From Away continues to make waves on Broadway. Photo by Matthew Murphy, Courtesy Polk & Co.
Finally! An original Broadway story. Christopher Ashley, who's been with Come From Away since its inception at La Jolla Playhouse, plans to direct the adaptation of the current hit musical. Not much information is available at this time, but we're excited to follow this movie's development.
In the Heights
Washington Heights got a major shout-out in the Broadway musical. Photo by Joan Marcus, Courtesy In the Heights.
We'd love to see this one happen. As of October, though, plans had stalled. Quiara Alegría Hudes (who co-authored the book with Lin-Manuel Miranda) called for the Weinstein Co. to release the film's rights in the wake of harassment claims against Harvey Weinstein. Earlier in the process, Jay Z had been named as a producer.
The 2009 West End production featured Matthew Bourne's choreography.
The classic musical might become a movie once again, but this time, with Ice Cube as the crooked Fagin, who runs a ring of child pickpocketers. Hamilton director Thomas Kail will direct, and way back in 2014, Matthew Bourne was mentioned as choreographer. Can you imagine the rich, fantastical numbers he'd create? Consider us sold.
A few weeks ago, American Ballet Theatre announced the A.B.T. Women's Movement, a new program that will support three women choreographers per season, one of whom will make work on the main company.
"The ABT Women's Movement takes inspiration from the groundbreaking female choreographers who have left a lasting impact on ABT's legacy, including Agnes de Mille and Twyla Tharp," said artistic director Kevin McKenzie in a press release.
Hypothetically, this is a great idea. We're all for more ballet commissions for women. But the way ABT has promoted the initiative is problematic.
Some dancers move to New York City with their sights set on a dream job: that one choreographer or company they have to dance for. But when Maggie Cloud graduated from Florida State University in 2010, she envisioned herself on a less straightforward path.
"I always had in mind that I would be dancing for different people," she says. "I knew I had some kind of range that I wanted to tap into."
On the occasion of its 70th anniversary, the Ballet Nacional de Cuba tours the U.S. this spring with the resolute Cuban prima ballerina assoluta Alicia Alonso a the helm. Named a National Hero of Labor in Cuba, Alonso, 97, has weathered strained international relations and devastating fiscal challenges to have BNC emerge as a world-class dance company. Her dancers are some of ballet's best. On offer this time are Alonso's Giselle and Don Quixote. The profoundly Cuban company performs in Chicago May 18–20, Tampa May 23, Washington, D.C., May 29–June 3 and Saratoga, New York June 6–8.
We all know that the general population's knowledge of ballet is sometimes...a bit skewed. (See: people touching their fingertips to the top of their head, and Kendall Jenner hopping around at the barre.)
Would your average Joe know how to do ballet's most basic step: a plié? Or, more to the point, even know what it is?
SELF decided to find out.
New York City Ballet is celebrating the Jerome Robbins Centennial with twenty (20!) ballets. The great American choreographer died in 1998, so very few of today's dancers have actually worked with him. There are plenty of stories about how demanding (at times brutally so) he could be in rehearsal. But Peter Boal has written about Robbins in a more balanced, loving way. In this post he writes about how Robbins' crystal clear imagery helped him approach a role with clarity and purpose.
Who says you need fancy equipment to make a festival-worthy dance film? Right now, two New York City–based dance film festivals are calling for aspiring filmmakers to show their stuff—and you don't need anything more cumbersome than a smartphone to get in on the action.
Here's everything you need to know about how to submit:
When Lisset Santander bourréed onstage as Myrtha in BalletMet's Giselle this past February, her consummate portrayal of the Queen of the Wilis was marked by steely grace and litheness. The former Cuban National Ballet dancer had defected to the U.S. at 21, and after two years with the Ohio company, she's now closer to the dance career she says she always wanted: one of limitless possibilities.
For 17 years, James Samson has been the model Paul Taylor dancer. There is something fundamentally decent about his stage persona. He's a tall dancer—six feet—but never imposes himself. He's muscular, but gentle. And when he moves, it is his humanity that shines through, even more than his technique.
But all dancing careers come to an end, and James Samson's is no exception; now 43, he'll be retiring in August, after a final performance at the Teatro Romano in Verona, where he'll be dancing in Cloven Kingdom, Piazzolla Caldera and Promethean Fire.
The wait for Alexei Ratmansky's restaging of Petipa's Harlequinade is almost over! But if you can't wait until American Ballet Theatre officially debuts the ballet at the Metropolitan Opera House on June 6, we've got you covered. ABT brought the Harlequinade characters to life (and to the Alder Mansion in Yonkers, NY) in a short film by Ezra Hurwitz, and it's a guaranteed to make you laugh.
When an anonymous letter accused former New York City Ballet leader Peter Martins of sexual harassment last year, it felt like what had long been an open secret—the prevalence of harassment in the dance world—was finally coming to the surface. But the momentum of the #MeToo movement, at least in dance, has since died down.
Martins has retired, though an investigation did not corroborate any of the claims against him. He and former American Ballet Theatre star Marcelo Gomes, who suddenly resigned in December, were the only cases to make national headlines in the U.S. We've barely scratched the surface of the dance world's harassment problem.