The cast of Irving Berlin's Holiday Inn. Photo by Joan Marcus. Courtesy Polk & Co.
Sure, Christmas music has a way of getting us into a festive mood. But if you can combine show-stopping dancing with holiday tunes, now we're really talking. Holiday Inn, the 2016 Irving Berlin songbook musical, does just that: In two hours, it dishes up 20 songs, 20 accompanying dances and a hefty helping of holiday cheer.
I have always been extremely dramatic. I think "extremely" might even be an understatement. As a child, I was constantly in costume. Never clothes. Always a costume.
When I was 8 we moved into a new house, and took a home video to send to my dad's family. My siblings were performing a song for the camera. I desperately wanted to join them, but they got annoyed and said no. In the video I run out of the room crying hysterically, and you can hear my dad saying, "It's okay, Sam, you can dance for the camera later."
This is followed by about 45 minutes of me dancing. Music changes, style changes, costume changes, the works. Dance was, and still is, the best way I know how to express myself.
Josh Groban and the cast of Natasha, Pierre & The Great Comet of 1812. PC Chad Batka, courtesy of Matt Ross PR
I first got hooked on Broadway musicals as a preteen at Gypsy, with its tapping moppets, gyrating burlesque queens and Tulsa, the dancing heartthrob. I've been going ever since, but Dance Magazine has been at it even longer.
The 1926-27 Broadway season was just ending when DM began publication, and of its 200-plus shows, dozens were new musicals. One, a Ziegfeld revue called No Foolin', listed more than 80 performers. Such huge ensembles of dancers and singers were common, whether in revues, operettas or musical comedies.
And why not? The '20s were roaring, and Broadway was flush. But that wasn't the only difference between then and now. Dance in the theater was only tangentially related to a show's content. It was window dressing—however extravagant, it remained mere entertainment.