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Christopher Gattelli on Choreographing SpongeBob SquarePants: "It's Not Your Typical Broadway Musical"
Christopher Gattelli describes his latest cast as "unicorns," because he can't believe they exist. "It blows my mind, what they can do," he says. "They can do everything." They have to. Their characters belong to no species generally known to dance on Broadway—a crab, a squirrel, a starfish, a snail and, you guessed it, a sponge.
And the songs in the musical version of Nickelodeon's popular animated series SpongeBob SquarePants, which opens this month at the Palace Theatre, are by 16 different composers, ranging from John Legend to Panic! At the Disco, from Lady Antebellum to T.I., with offerings along the way from the likes of Cyndi Lauper, Steven Tyler and The Flaming Lips. So the choreography runs the gamut as well—tap, hip-hop, jazz, contemporary, the works. The dancing, Gattelli says, "is all over the place."
The TV series, still going strong after 18 years and two movies, is all over the place, too, as it tracks the goofy citizens of Bikini Bottom, an underwater city in the Pacific. It's meant for children 6 to 11, but it's loved by adults for its face-palm worthy jokes and fun-house atmosphere, rendered in the stage version by an immersive array of flotsam and jetsam curated by set designer David Zinn.
Photo by Joan Marcus
Working within it, Gattelli notes, "is like being inside a piñata." The explosive analogy is apt—the musical's plot, conceived by director Tina Landau, puts Bikini Bottom in imminent risk of death by volcano.
Landau, an iconoclastic writer/director well-known in non-commercial theater circles, specializes in visual, theatrical theater. She has said she's not interested in staging the everyday reality you usually see in movies and television—and she's the reason Gattelli joined SpongeBob.
"I think her mind is incredible," he says, "and I was curious about how she was going to do this." With a Tony for Newsies and nominations for the Lincoln Center revivals of South Pacific and The King and I, Gattelli has built a career on dances for genuine characters—his most recent Broadway musical was the fact-based War Paint.
One meeting with Landau was all it took to persuade him to choreograph on the happy-go-lucky sponge he already knew from watching TV with his nieces and nephews, because her vision resembled nothing he'd ever worked on, and the variety of music would allow him "to flex every single choreographic muscle."
His tap chops got a particularly strenuous workout. The number contributed by They Might Be Giants, "I'm Not a Loser," is a tap extravaganza for a squid and a chorus line of 12 portraying 50 sea anemones. Playing Squidward Tentacles, SpongeBob's chronically cranky neighbor, is Gavin Lee, whose expert tapping gave Mary Poppins a showstopping number in 2006. Here, his costume gives him extra legs and arms to dance with, and, Gattelli says, "He's off the charts."
Photo by Joan Marcus
A promotional clip before the show's tryout run last year in Chicago offered a glimpse of another Gattelli muscle—not to mention the bicycle-riding skills of the dancers. Asked about choreographing this bit, he says, "Oh, we ended up not using it—we found a better solution for that moment."
He explains that "I could do more with them physically, I could dance them more, by taking them off the bikes." The bicycles, and their elimination, illustrate Landau's process, Gattelli says. "It's so open and so collaborative—there's never a 'no.' You're encouraged to try anything. Even the wildest idea gets a hearing."
And many of the wild ideas stay. SpongeBob SquarePants, he says, "is a carnival. It's a rock concert. It's a vaudeville. You don't know what's gonna happen next. It's not your typical Broadway musical."
Photo by Joan Marcus
The revival of everything '90s has been in full-swing for a while now—we saw Destiny's Child reunite at Coachella, Britney Spears is headed back on tour, and the Spice Girls miiight be performing at the Royal wedding next month. But Hollywood saved the best '90s moment for last, bringing *NSYNC back together to receive their official star on the Hollywood Walk of Fame on April 30.
Because we love a good dance #TBT, we're reliving five of the boys' best dance moments.
"I Want You Back"
The band's first single from their self-titled debut album in 1998, "I Want You Back," was the start of their takeover (and their choreographed dance moves).
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.' "
Gina Gibney runs two enormous dance spaces in New York City: Together they contain 23 studios, five performance spaces, a gallery, a conference room, a media lab and more. Gibney is now probably the largest dance center in the country. It's not surprising that Dance Magazine named Gina Gibney one of the most influential people in dance today.
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:
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?