The inimitable Carol Channing, best known for her role as the titular Hello, Dolly!, passed away today at 97.
Though she became a three-time Tony winner, Channing was born in Seattle, far from the Great White Way, in 1921. After growing up in San Francisco, she attended the famed Bennington College, studying dance and drama. She later told the university, "What Bennington allows you to do is develop the thing you're going to do anyway, over everybody's dead body." For Channing, that meant decades of fiery, comical performances, bursting with energy.
Yesterday, major Broadway news broke that's bound to make a lot of people happy: that is, Ryan Gosling fans, romance novel readers, "This Is Us" devotees and those who love crying during adorably sentimental movies.
The Notebook, based on Nicolas Sparks' bestselling book of the same name, is being made into a Broadway-bound musical.
Earlier this year, Ari Groover faced the ultimate Broadway champagne problem: She was offered a contract for both Summer: The Donna Summer Musical and Head Over Heels. She ultimately chose Head Over Heels, and watching her in the show, it's easy to see why she's in such demand: Groover is a consummate storyteller, imbuing Spencer Liff's jaw-droppingly complicated choreography with seemingly endless energy and sly wit.
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
What if we told you we could magically transport you to Broadway four times this month? For $0. Wanna go? Great.
Just tune in to PBS the next four Friday nights at 9 pm Eastern (check your local listings), because the network's "Great Performances" programming is tipping its hat to theater gems old and new. The following day, each show will be available for streaming here and through PBS apps. Here's what's on tap:
Forget Netflix and chill. Here at Dance Magazine, we're more about Netflix and show tunes! Thanks to the internet, you can stream live recordings of hit musicals from the comfort of your own couch. We gathered the danciest shows available right now.
Ryan Steele has a simple rule for demanding days on Broadway: "I listen to my body," he says. "I have whatever I'm craving: If I need more protein, I go straight for that. If I'm tired, I know I need carbs."
This wasn't always Steele's approach. Growing up, shuttling between the studio and school meant relying on McDonald's and Burger King.
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As soon as we saw the current off-Broadway revival of Smokey Joe's Cafe, directed and choreographed by Tony nominee Joshua Bergasse, we had to know just how it did it. In 90 minutes, the cast of nine races through 40 songs by prolific pop songwriting duo Jerry Leiber and Mike Stoller. The show includes megahits from the last century—like 1957's "Jailhouse Rock" and 1963's "On Broadway"—and they're all decked out with dancing.
With no dialogue and no narrative, there's plenty of room for Bergasse's choreographic mind to run wild. "Dance plays a huge role in this show," says Bergasse. "Most of these songs were written to get people out on the dance floor, so you kind of can't stop your body from moving." Even though the hits are old, the show definitely isn't stuck in a time warp. "We wanted to make the dancing feel like it isn't of one specific time." You'll see social dances from the '50s and '60s, but Bergasse quickly mentions Michael Jackson as a big influence as well. (Yes, the moonwalk makes an appearance, as do more current crazes like the Nae Nae.)
When it comes to auditioning, you have to think like a casting director. What is your type? How can you embrace it so that you can get cast in the roles that fit you best?
Getting hired is about more than just talent. Directors are looking at everything: from your height, to your energy, to understudy requirements—if you are a replacement in a Broadway show, for example, you have to be able to slot into it seamlessly. The creative team will size you up immediately when you walk into the studio, so make sure you're projecting the right message from the start.
Could Justin Peck be any busier? In the midst of pulling triple duty at New York City Ballet—as a soloist, resident choreographer and a member of its interim artistic team—he also managed to choreograph a Broadway show. Then, last month, on his first try, he won a Tony Award for best choreography for the revival of Carousel.
The morning after the ceremony, he shared an exuberant Instagram post: As he exited the stage after winning, he ran into the Carousel sailors backstage as they were entering to perform "Blow High, Blow Low" for the telecast. He wrote: "None of them knew we had just been awarded the Tony, and I stood in front of them holding the award, speechless. They erupted in excitement and we exchanged a beautiful moment of embraces, cheers, and happiness. Certainly the highlight of the night for me!" Recently, via email, we caught up with the peripatetic Mr. Peck.
This morning, we woke to hear the sad news that British choreographer Gillian Lynne passed away last night at age 92. The original choreographer of Cats and Phantom of the Opera, Lynne worked on more than 60 shows on Broadway and the West End in her lifetime, and will be dearly missed by the dance world.
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.
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.
The biggest weekend in Broadway is finally upon us: The Tony Awards are this Sunday (airing at 8 pm EST on CBS). While other media outlets might be busy forecasting winners, we're speculating about the dancing we might get to see during the broadcast.
Needless to say, we have a few ideas.
With his debonair charm and fluent feet, Tony Yazbeck seems built for ebullient men like Gabey in On the Town, who earned him a 2015 Tony nomination. But he's riding high at the moment dancing nervous breakdowns. First, there was his fierce, knife-edged tapping in Prince of Broadway, which just won him a Chita Rivera Award. (Full disclosure: I'm a juror.) Now he's giving a tour-de-force performance as a restless womanizer in The Beast in the Jungle, having its world premiere at the off-Broadway Vineyard Theatre through June 24. Both were choreographed for him by Susan Stroman.
The way you start your morning can set the tone for the rest of the day. Establishing a productive and mindful morning routine can leave you feeling relaxed, grounded, and ready to take on the day ahead, no matter how busy.
We asked five professional dancers to share what they like to do each morning to prepare themselves for the happiest and healthiest day possible.
Among the many delights of the glorious Broadway revival of Rodgers and Hammerstein's Carousel is watching New York City Ballet soloist Brittany Pollack make her radiant Broadway debut.
One of Dance Magazine's "25 to Watch" in 2011, Pollack plays Louise, the daughter of the two leads Billy Bigelow and Julie Jordan. She makes her entrance in the second act, dancing a solo ballet in an incandescent, shimmering yellow dress.
It's Broadway awards season (hello Tony, Chita Rivera and Drama Desk Awards!), and this year, there's a lot for fans to sing and dance about. If you're a millennial, your heart is certainly happy with this morning's Tony announcement: SpongeBob SquarePants and Mean Girls scored the most nominations for a musical at 12 each. (The two-part play Harry Potter and the Cursed Child got 10.)
Mean Girls leads the pack with 12 Tony nominations. Photo by Joan Marcus, Courtesy Boneau/Bryan-Brown.
"Should I watch it to get a sense of what happened, or should I go with my own vision and understanding of the culture?" That's what choreographer Camille A. Brown was wondering in June, when she started work on the Broadway revival of the Antilles-themed musical Once on This Island.
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.
She had a varied, flourishing career that included dancing for Lar Lubovitch, touring with the Bad Boys of Dance, and performing at Radio City Musical Hall and in Broadway shows. But Kamille Upshaw really wanted to make Mean Girls happen.
Not because she'd known Reginas or Plastics in high school—at Baltimore School for the Arts, her classmates were too busy pursuing dance, music, or other "artsy things" to form the obnoxious cliques that Lindsay Lohan experiences in the movie. But when the teen comedy by "Saturday Night Live" giants came out in 2004, Upshaw and her friends watched Mean Girls over and over and over. It was "an obsession," she says.