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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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The Museum Workout, PC Paula Lobo

Dance Magazine editors and writers chose their favorite dance happenings of the year:

Liveliest Revival: Merce Cunningham's Sounddance

Ballet de Lorraine in Sounddance. PC Laurent Philippe, Courtesy Richard Kornberg & Associates

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The Spongebob Musical, PC Joan Marcus

The closing months of the 2016–17 season brought a glut of extraordinary music and dance to Broadway's stages, and the superabundance has left 2017–18 looking a bit anemic.

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Bandstand. Photo by Jeremy Daniel

What do you go to a musical for? The singing and dancing, a great story, and charismatic performers, right? But this season a clutch of new musicals are flaunting something else: a moral compass—and compassion. A colleague of mine suggests that our increased awareness of this has to do with our post-election state of mind, and, in a time when compassion seems scarce, some of this season's new musicals are coming to the rescue.

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Photo by Jerry Dalia

It's mad-dash time on Broadway, as shows scramble to qualify for the June 11 Tony Awards. "It is a crazy season," says Andy Blankenbuehler, who won last year for choreographing Hamilton. And the 10 musicals arriving in the two months preceding the deadline, April 27, "are all over the map," he says. "So many different audiences will find a show to really be in love with."

One of them is his own, Bandstand, set in 1945 as GIs resume their lives after World War II. Working with composer Richard Oberacker and writer Robert Taylor, "Andy the Director" focused initially on "music, text, characters—establishing the world," he says, to tell the story of veterans forming a big band.

BandstandPhoto by Jerry Dalia

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