Smokey Joe's Cafe cast members Dionne D. Figgins and Jelani Remy rehearse their playful and passionate duet from the song "Spanish Harlem."
As soon as we saw the current off-Broadway revival of Smokey Joe's Cafe, directed and choreographed by Tony nomineeJoshua 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.)
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.
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.
Living the #dancerlife is no easy feat. Between daily technique classes, late night rehearsals and numerous side gigs to get the bills paid, dancers often don't prioritize self care. It may seem like the least important item on your never-ending to-do list, but it's vital to make time for your physical, mental and emotional wellbeing.
Ignoring basic needs can ultimately damage your technique and performance. We could all use some tips from these 10 professional dancers who know how to practice self love.
It doesn't look like your great-grandfather's jitterbug. Yes, the year is 1945, and yes, the setting is a jazz club. But these swing dancers are in the new musical Bandstand, directed and choreographed by Andy Blankenbuehler. The number, "Nobody," is a paean to determination—"You know who tells me, 'Stop'? Nobody."
The choreography begins as metaphor and then becomes literal as the band members, revved up by the song, perform it for the dancers at the club. It's complicated and entirely fresh, avoiding familiar jitterbug tropes without ever abandoning the period feel.
Little wonder: Blankenbuehler, whose first director/choreographer outing was Bring It On: The Musical, says his influences included Judy Garland's "Get Happy" and Michael Jackson's "Smooth Criminal." ("I'm imitating Michael Jackson imitating Fred Astaire.")