Terry Notary in a movement capture suit during the filming of Rise of the Planet of the Apes. Photo by Sigtor Kildal, Courtesy Notary
When Hollywood needs to build a fantasy world populated with extraordinary creatures, they call Terry Notary.
The former gymnast and circus performer got his start in film in 2000 when Ron Howard asked him to teach the actors how to move like Whos for How the Grinch Stole Christmas. Notary has since served as a movement choreographer, stunt coordinator and performer via motion capture technology for everything from the Planet of the Apes series to The Hobbit trilogy, Avatar, Avengers: Endgame and this summer's The Lion King.
Since opening the Industry Dance Academy with his wife, Rhonda, and partners Maia and Richard Suckle, Notary also offers movement workshops for actors in Los Angeles.
In rehearsal for Dreamgirls. Photo Courtesy DM Archives.
Broadway musicals have been on my mind for more than half a century. I discovered them in grade school, not in a theater but electronically. On the radio, every weeknight an otherwise boring local station would play a cast album in its entirety; on television, periodically Ed Sullivan's Sunday night variety show would feature an excerpt from the latest hit—numbers from Bye Bye Birdie, West Side Story, Camelot, Flower Drum Song.
But theater lives in the here and now, and I was in middle school when I attended my first Broadway musical, Gypsy—based, of all things, on the early life of the famed burlesque queen Gypsy Rose Lee. I didn't know who Jerome Robbins was, but I recognized genius when I saw it—kids morphing into adults as a dance number progresses, hilarious stripping routines, a pas de deux giving concrete shape to the romantic yearnings of an ugly duckling. It proved the birth of a lifelong habit, indulged for the last 18 years in the pages of this magazine. But all long runs eventually end, and it's time to say good-bye to the "On Broadway" column. It's not the last of our Broadway coverage—there's too much great work being created and performed, and you can count on hearing from me in print and online.
India Bolds has been in The Lion King for five years. Photo by Jim Lafferty
As an ensemble dancer in The Lion King, India Bolds, age 32, plays nine characters in every show, eight times a week. That's a lot of entrances and exits, costume changes and choreography to remember. But after five years of dancing in the production, she has the show down pat.
Dance Magazine followed her through a performance day to see what it takes to be in Broadway's third-longest-running production.
It was a Christmas Eve that The Lion King dancer India Bolds will never forget.
Exhausted from a long week of performances, Bolds was clueless when she saw her cast mates randomly dancing in Broadway's Minskoff Theater lobby, and even more confused when they morphed into a choreographed flash mob. But when her boyfriend of four years, Dale Browne, popped up in the mob wearing a beautiful blue suit, she realized what was coming.