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The "So You Think You Can Dance" choreographer transitions to Broadway.
Mia Michaels. Photo by Jim Lafferty.
The rehearsal room throbs with an upbeat, unmistakable mix of high good humor and careful rigor, as Mia Michaels runs a few numbers from Finding Neverland. The show, based on the 2004 film about J.M. Barrie and the children who inspired Peter Pan, represents a departure for Michaels, who’s perhaps the most famous choreographer never to have choreographed a Broadway musical.
Above: Laura Michelle Kelly and J.M. Barrie understudy Kevin Kern lead the cast. Photo by Jim Lafferty.
“It’s the hardest thing I’ve ever done,” she says, “because of the hours, the amount of time it takes to do an original musical.” The clock started ticking two years ago, at Diane Paulus’ American Repertory Theater, which presented the world premiere last summer in Cambridge, Massachusetts. And doing Neverland, Michaels says, has changed her profoundly. Still, wearing black leggings and a roomy black cardigan, on her feet tweaking a lift or demonstrating a precise arm position, she’s the familiar, in-charge choreographer who spent nine years on “So You Think You Can Dance.” “Push the clarity,” she tells the cast when they all reach upwards in a stylized tableau. Later, she’s urging them to “really take up space,” spreading her arms and veering about “like when you’re a kid and you’re flying around like an airplane.”
Right: Sawyer Nunes and Aidan Gemme. Photo by Jim Lafferty.
Everyone seems to be having fun, and it’s not just because the number portrays a rambunctious romp in the park, or because the bouncy song by British popsters Gary Barlow and Eliot Kennedy is matched by Michaels’ bouncy movement. “We are a family,” she says, “and it is the most amazing feeling.” It’s a theme she returns to again and again, this joy she’s found in her Neverland collaboration. Throughout her career—which includes not just “SYTYCD” but concert tours, dance companies (one of them, RAW, her own) and a sprinkling of musical theater—she’s been a solo act. “I’ve always isolated myself and been on my own journey, just doing my art, my craft,” she notes. “And now, all of a sudden, I have this amazing, creative, warm family with arms open. It’s changed my life.”
A key member of that family is Paulus, the Tony-winning director. “There’s a lot of female energy in there,” Michaels notes. “I’ve worked with many male directors through film and television, and they’ve always kind of let me do my own thing. With Diane, there’s an intimacy in our process, where everyone’s hands-on. Probably it’s because, being women, we’re very passionate about every single moment and we nurture the moment. Especially her being a mom, she knows how to nurture the creative process and really pull it from people. Gestation. Gestation.” And working with the child actors in the cast has “softened” Michaels, allowing her a new kind of connection.
Left: Kern with Colin Cunliffe. Photo by Jim Lafferty.
“Having a female director was key to tapping into the emotional and the intimate moments of this piece,” she adds. Regular viewers of “SYTYCD” know such moments abound in Michaels’ choreography. “The show taught me that I was a storyteller,” she says. But how will her totally contemporary idiom work in Neverland’s Edwardian England? “The score is pop,” she replies. “So you’ve already crossed that line. It’s not a museum piece.” She adds that because her movement has always “come from a classical space, it works in this time period.”
Nor is she thrown by the absence of the camera to underline or camouflage specific moves. “I came from the stage first,” she explains. “And I always created for the viewers in the studio. Then I would adapt the camera to the piece.” Grateful as she is to “SYTYCD” (“If it wasn’t for that show I wouldn’t be here today,” she acknowledges), “I was so ready to be back on the stage. Live theater, live performance—it’s real, it’s honest, and what you get is what you get.”
Right: Fred Ogdaard and Jaime Verazin. Photo by Jim Lafferty.
Dance captains: Jaime Verazin, a former MOMIX dancer making her Broadway debut, and an assistant, Julius Anthony Rubio, who made his debut in 2011 in Wonderland. Both joined Neverland after auditioning for swing jobs.
Assistants: Verazin also serves in this capacity, along with Kevin Wilson, a Los Angeles–based dancer-choreographer.
Dance ensemble: “There are seven dancers, the rest are actor-movers. But, believe me, they’re dancing,” says Michaels. “Actors—my god, they have so much to bring to the table. It’s like this big library of knowledge and creativity and humor, and it just opened up my eyes as a choreographer.”
Pre-show warm-up: “When we start we have a full circle. A moment where we all connect and we really hold hands and we look at every single person in the eyes,” says Michaels. “In our own quiet way, we go through the journey that we’ve had together. It’s the most amazing spiritual energy and connection.”
Above: Jonathan Ritter and Emma Pfaeffle. Below: Jonathan Ritter and Cast. Photos by Jim Lafferty.
It can be hard to focus when Alice Sheppard dances.
Her recent sold-out run of DESCENT at New York Live Arts, for instance, offered a constellation of stimulation. Onstage was a large architectural ramp with an assortment of peaks and planes. There was an intricate lighting and projection design. There was a musical score that unfolded like an epic poem. There was a live score too: the sounds of Sheppard and fellow dancer Laurel Lawson's bodies interacting with the surfaces beneath them.
And there were wheelchairs. But if you think the wheelchairs are the center of this work, you're missing something vital about what Sheppard creates.
So far, the fervor to create diversity in ballet has primarily focused on dancers. Less attention has been paid to the work that they'll encounter once they arrive.
Yet the cultivation of ballet choreographers of color (specifically black choreographers) through traditional pathways of choreographic training grounds remains virtually impossible. No matter how you slice it, we end up at the basic issues that plague the pipeline to the stage: access and privilege.
"I'm sorry, but I just can't possibly give you the amount of money you're asking for."
My heart sinks at my director's final response to my salary proposal. She insists it's not me or my work, there is just no money in the budget. My disappointment grows when handed the calendar for Grand Rapids Ballet's next season with five fewer weeks of work.
"It just...always looks better in my head."
While that might not be something any of us would want to hear from a choreographer, it's a brilliant introduction to "Off Kilter" and the odd, insecure character at its center, Milton Frank. The ballet mockumentary (think "The Office" or "Parks and Recreation," but with pointe shoes) follows Frank (dancer-turned-filmmaker Alejandro Alvarez Cadilla) as he comes back to the studio to try his hand at choreographing for the first time since a plagiarism scandal derailed his fledgling career back in the '90s.
We've been pretty excited about the series for a while, and now the wait is finally over. The first episode of the show, "The Denial," went live earlier today, and it's every bit as awkward, hilarious and relatable as we hoped.
Christopher Wheeldon is going to be giving Michael Jackson some new moves: The Royal Ballet artistic associate is bringing the King of Pop to Broadway.
The unlikely pairing was announced today by Jackson's estate. Wheeldon will serve as both director and choreographer for the new musical inspired by Michael Jackson's life, which is aiming for a 2020 Broadway opening. This will be Wheeldon's second time directing and choreographing, following 2015's Tony Award-winning An American in Paris.
Wheeldon is a surprising choice, to say the least. There are many top choreographers who worked with Jackson directly, like Wade Robson and Brian Friedman, who could have been tapped for the project. Or the production could have even hired someone who actually choreographed on Jackson when he was alive, like Buddha Stretch.
What is the right flooring system for us?
So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.
Broadway musicals have been on my mind for more than half a century. I discovered them in grade school, not in a theater but electronically. On the radio, every weeknight an otherwise boring local station would play a cast album in its entirety; on television, periodically Ed Sullivan's Sunday night variety show would feature an excerpt from the latest hit—numbers from Bye Bye Birdie, West Side Story, Camelot, Flower Drum Song.
But theater lives in the here and now, and I was in middle school when I attended my first Broadway musical, Gypsy—based, of all things, on the early life of the famed burlesque queen Gypsy Rose Lee. I didn't know who Jerome Robbins was, but I recognized genius when I saw it—kids morphing into adults as a dance number progresses, hilarious stripping routines, a pas de deux giving concrete shape to the romantic yearnings of an ugly duckling. It proved the birth of a lifelong habit, indulged for the last 18 years in the pages of this magazine. But all long runs eventually end, and it's time to say good-bye to the "On Broadway" column. It's not the last of our Broadway coverage—there's too much great work being created and performed, and you can count on hearing from me in print and online.
Let's start with the obvious: Over the weekend, Beyoncé and Jay-Z released a joint album, Everything Is Love. Bey and Jay also dropped a video for the album's lead track, which they filmed inside the actual Louvre museum in Paris (as one does, when one is a member of the Carter family). And the vid features not only thought-provoking commentary on the Western art tradition, but also some really incredible dancing.
So, who choreographed this epic? And who are the dancers bringing it to life in those already-iconic bodystockings?
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
This week, New York City's Joyce Theater presents two companies addressing LGBTQ+ issues.
When most people think of dance students, they imagine lithe children and teenagers waltzing around classrooms with their legs lifted to their ears. It doesn't often cross our minds that dance training can involve an older woman trying to build strength in her body to ward off balance issues, or a middle-aged man who didn't have the confidence to take a dance class as a boy for fear of bullying.
Anybody can begin to learn dance at any age. But it takes a particular type of teacher to share our art form with dancers who have few prospects beyond fun and fitness a few nights a week.
New York City–based dancers know Gibney. It's a performance venue, a dance company, a rehearsal space, an internship possibility—a Rubik's Cube of resources bundled into two sites at 280 and 890 Broadway. And in March of this year, Gibney (having officially dropped "Dance" from its name) announced a major expansion of its space and programming; it now operates a total of 52,000 square feet, 23 studios and five performance spaces across the two locations.
Six of those studios and one performance space are brand-new at the 280 Broadway location, along with several programs. EMERGE will commission new works by emerging choreographic voices for the resident Gibney Dance Company each year; Making Space+ is an extension of Gibney's Making Space commissioning and presenting program, focused on early-career artists. For the next three years, the Joyce Theater Foundation's artist residency programs will be run out of one of the new Gibney studios, helping to fill the gap left by the closing of the Joyce's DANY Studios in 2016.
Dancers crossing over into the fitness realm may be increasingly popular, but it was never part of French-born Julie Granger's plan. Though Granger grew up a serious ballet student, taking yoga classes on the side eventually led to a whole new career. Creating her own rules along the way, Granger shares how combining the skills she learned in ballet with certifications in yoga, barre and personal training allowed her to become her own boss (and a rising fitness influencer).