Dance on Broadway
Christopher Gattelli's Broadway choreography, here in My Fair Lady, is rooted in moving the story forward. Photo by Joan Marcus, Courtesy Lincoln Center Theatre.

The 20-somethings doing Broadway Dance Lab's first-ever Choreography Summer Intensive ended their recent tour of Lincoln Center's New York Public Library for the Performing Arts with something special. In the seminar room, Tony-winning choreographer Christopher Gattelli awaited them with a conference table laden with Broadway treasures from the library's collection. Decades-old original sketches and black-and-white production photos from My Fair Lady, The King and I and South Pacific served as visual aids for Gattelli's discussion of these shows' Lincoln Center Theater revivals, as well as My Fair Lady's 2016 60th-anniversary production at the Sydney Opera House, directed by the original Eliza, Julie Andrews.


Prodded by BDL founder Josh Prince, Gattelli talked about tackling those three musical theater classics and the art of Broadway choreography in general. Here are some highlights, edited and annotated for clarity.

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The Creative Process
Ezra Hurwitz has created a successful second career in film. Photo by Erin Baiano, courtesy Hurwitz.

Ezra Hurwitz's dance trailers are tailor-made for going viral. His fast-moving shorts highlight not only the glamour of dance but also the grit, with a stylish Millennial sensibility.

The former Miami City Ballet corps member has been tapped by everyone from San Francisco Ballet to The Kennedy Center to Broadway's Chicago. He's also done commercials for non-dance companies like WeWork and Opening Ceremony, and collaborated on a music video for The National with Justin Peck. But no matter who's in front of the camera, his dancer's eye is always behind it.

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Dance on Broadway
Dancers in rehearsal for Once On This Island; PC 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.

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Popular
Photo by Matthew Murphy, Courtesy DKC/O&M

You could call it island-hopping, but it's not exactly a vacation. After choreographing last season's Come From Away, and winning a Tony nomination, Kelly Devine zipped from frosty Newfoundland to the Caribbean beach resort that is the setting for Escape to Margaritaville.

In the fall, she was shuttling between them, before they start this month: flying to Toronto to prepare a new Canadian production of Come From Away, then jetting back to Chicago for the final stop of Margaritaville's four-city pre-Broadway tryout.

"These two shows could not be more different from each other," Devine says with a dash of understatement. Come From Away is about the small Newfoundland town where airliners grounded by the 9/11 attacks dumped thousands of unexpected visitors; Escape to Margaritaville, at the Marquis Theatre, is a comic island romance concocted from the beachcomber songbook of Jimmy Buffett.

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