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On Broadway: Genie On Tap
Adam Jacobs (Aladdin) and James Monroe Iglehart (Genie) rehearse “Friend Like Me.” Photo by Matthew Murphy, Courtesy Aladdin.
If you scan the impressive list of Broadway musicals directed and choreographed by Casey Nicholaw—that would include The Drowsy Chaperone, The Book of Mormon and, most recently, Elf—you might note that he always manages to make room for a memorable tap sequence. Nervous bridegrooms, Mormon missionaries and despondent Santa Clauses have all danced the Tony winner’s tap steps. But legendary characters out of the Arabian Nights? Nicholaw thought that was a bit of a reach, and his stage version of Disney’s 1992 animated feature Aladdin was going to have to get along without this signature audience pleaser.
“When we did Aladdin in Seattle,” Nicholaw recalls, “I didn’t have any tap in it, because it felt kind of gratuitous. And then everyone said, ‘Why don’t you put tap in it?’ And I said, ‘What the heck are you thinking?’ I was going to avoid it.”
But when Aladdin, with several new Alan Menken songs and a book by Chad Beguelin, starts previews this month prior to its March 20 opening at the New Amsterdam Theatre, yes, there will be 21 sets of taps striking the stage. It happens during “Friend Like Me,” the big, busy number in which the genie freshly sprung from his lamp introduces himself to his new master, the poor street kid Aladdin.
In the film, Genie, voiced by Robin Williams, is a jazzy, shape-shifting entertainer who momentarily sports a top hat and tails and even pulls off a few quick trenches. “He was originally drawn and conceived as Cab Calloway,” Nicholaw says, “and I thought, ‘You know what? Embrace it!’ The genie’s world is show biz, and anything goes.” So while the rest of the show’s dance vocabulary is more or less inspired by things you might expect to find in or around Agrabah—if Agrabah existed—“Friend Like Me” inhabits not Arabia but Broadway. So, Nicholaw believes, “You can do anything you want.”
As it happened, his Genie couldn’t do that. James Monroe Iglehart, whose rocking, kinetic rendition of “Big Love” was one of the standout numbers (among many) in Memphis, had been cast as Genie, and he’d never tapped in his life. “Once I decided to put tap in it,” Nicholaw continues, “I said to him, ‘Find a tap teacher.’ ” Iglehart took classes for six months, and Nicholaw sent him a video of his choreography for the number, slowed down and shot from behind. “He worked his butt off,” Nicholaw says, “and he came in and nailed all the steps.”
Iglehart’s linebacker physique might have worried another choreographer. But not Nicholaw. “I don’t look at him because of his size and say, ‘I’m not gonna give you this or that,’ ” he says. “The thing you have to keep in mind with any principal is, you have to do something that serves them well. He moves so well for a large guy—he is fantastic. But if he didn’t look good doing the tap, I wouldn’t be giving it to him. And I probably would end up cutting tap from the show, because I certainly don’t want just ensemble members coming in and tap dancing—I want the fun of having Aladdin and Genie doing it too.”
If the tap is there only for the fun of it, it hasn’t prevented Nicholaw from also playing around elsewhere. “I did all kinds of research,” he says, “but Agrabah is a fictional place.” He’s included authentically Middle Eastern touches—“We’ve got drums, we’ve got finger cymbals, we’ve got swords, we’ve got stilts”—as well as some decidedly inauthentic ones. “I’m Greek,” he points out. “I borrow from Greek dance, from traditional lines, from Bollywood—it’s a combination of the buoyant spirit and passion of ethnic cultures while also keeping it in our musical theater world.”
Needless to say, there are also harem girls with bare midriffs. But Nicholaw says he stayed away from the one style you’d think would be de rigueur in a Mideast-flavored musical. “We’ve got pretty much everything you can think of,” he says, “but we don’t have belly dancing. It doesn’t quite go with the score.”
Dance Captains: Michael Mindlin (Bring It On: The Musical, 9 to 5), who’s a swing, and Nikki Long (The Lion King), who’s in the ensemble.
Associate choreographer: John MacInnis (Book of Mormon), who danced with Nicholaw in the ensemble of Thoroughly Modern Millie.
Ensemble size: 12 men, 7 women, plus 4 swings. “It’s very male-heavy,” says Nicholaw.
Dance specialties: Tap and “a bit of everything.”
When Rachel Hamrick was in the corps of Universal Ballet in Seoul, her determination to strengthen her flexibility turned into a side hobby that would eventually land her a new career. "I was in La Bayadere for the first time, and I was the first girl out for that arabesque sequence in The Kingdom of the Shades," she says. "I had the flexibility, but I was wobbly because I wasn't stretching in the right way. That's when I first started playing around with the idea of the Flexistretcher. It was tied together then, so it was definitely more makeshift," she says with a laugh, "But I trained with it to help me get the correct alignment so that I would have the strength to sustain the whole act."
Now, Hamrick is running her own business, complete with an ever-growing product line and her FLX training method—all because of her initial need to make it through 38 arabesques.
For the new Broadway season, Ellenore Scott has scored two associate choreographer gigs: For Head Over Heels, which starts previews June 23, Scott is working with choreographer Spencer Liff on an original musical mashing up The Go-Go's punk-rock hits with a narrative based on Sir Philip Sidney's 1590 book, Arcadia. Four days after that show opens, she'll head into rehearsals for this fall's King Kong, collaborating with director/choreographer Drew McOnie and a 20-foot gorilla.
Scott gave us the inside scoop about Head Over Heels, the craziness of her freelance hustle and the most surprising element of working on Broadway.
Dance in movies is a trend as old as time. Movies like The Red Shoes and Singin' in the Rain paved the way for Black Swan and La La Land; dancing stars like Gene Kelly and Ginger Rogers led the way for Channing Tatum and Julianne Hough.
Lucky for us, some of Hollywood's most incredible dance scenes have been compiled into this amazing montage, featuring close to 300 films in only seven minutes. So grab the popcorn, cozy on up, and watch the moves that made the movies.
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.
If you want to know how scary the AIDS epidemic was in the 1980s, come see Ishmael Houston-Jones' piece THEM from 1986. This piece reveals the subterranean fears that crept into gay relationships at the time. Houston-Jones is one of downtown's great improvisers, and his six dancers also improvise in response to his suggestions. With Chris Cochrane's edgy guitar riffs and Dennis Cooper's ominous text, there's an unpredictable, near-creepy but epic quality to THEM.
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.
This time last year, Catherine Conley was already living a ballet dancer's dream. After an exchange between her home ballet school in Chicago and the Cuban National Ballet School in Havana, she'd been invited to train in Cuba full-time. It was the opportunity of a lifetime, and one that was nearly unheard of for an American dancer. Now, though, Conley has even more exciting news: She's a full-fledged member of the National Ballet of Cuba's corps de ballet.
"In the school there were other foreigners, but in the company I'm the only foreigner—not just the only American, but the only non-Cuban," Conley says. But she doesn't feel like an outsider, or like a dancer embarking on a historic journey. "Nobody makes me feel different. They treat me as one of them," she says. Conley has become fluent in Spanish, and Cuba has come to feel like home. "The other day I was watching a movie that was dubbed in Spanish, and I understand absolutely everything now," she says.
Chantel Aguirre may call sunny Los Angeles home, but the Shaping Sound company member and NUVO faculty member spends more time in the air, on a tour bus or in a convention ballroom than she does in the City of Angels.
Aguirre, who is married to fellow Shaping Sound member Michael Keefe, generally only spends one week per month at home. "When I'm not working, I'm exploring," Aguirre says. "Michael and I are total travel junkies."
Akram Khan and Florence Welch (of Florence + The Machine) is not a pairing we ever would have dreamt up. But now that the music video for "Big God" has dropped, with choreography attributed to Khan and Welch, it seems that we just weren't dreaming big enough.
In the video, Welch leads a group of women standing in an eerily reflective pool of water. They seem untouchable, until they begin shedding their colorful veils, movements morphing to become animalistic and aggressive as the song progresses.
Savannah Lowery is about as well acquainted with the inner workings of a hospital as she is with the intricate footwork of Dewdrop.
As a child, the former New York City Ballet soloist would roam the hospital where her parents worked, pushing buttons and probably getting into too much trouble, she says. While other girls her age were clad in tutus playing ballerina, she was playing doctor.
"It just felt like home. I think it made me not scared of medicine, not scared of a hospital," she says. "I thought it was fascinating what they did."
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.
A Jellicle Ball is coming to the big screen, with the unlikeliest of dancemakers on tap to choreograph.
We'll give you some hints: His choreography can aptly be described as "animalistic," though Jellicle cats have never come to mind specifically when watching his hyper-physical work. He's worked on movies before—even one about Beasts. And though contemporary ballet is his genre of choice, his choreography is certainly theatrical enough to lend itself to a musical.