Sylviane Gold, Dance Magazine's On Broadway columnist, was born in Paris and grew up a short subway ride from Broadway. She's been covering the arts as a reporter, editor and critic since 1970. Her theater criticism has appeared in publications as disparate as The SoHo Weekly News and The Wall Street Journal, and, in 1982, her Boston Phoenix reviews won the George Jean Nathan Award for Dramatic Criticism. From 2007 to 2016, she reviewed theater for suburban editions of The New York Times. She was chief dance critic for Newsday for nearly a decade, and has also written extensively about film and art. She chairs the selection committee of the annual Chita Rivera Awards for the best dance on Broadway.
Rana Roy (above) and Jonny Lee Miller in Ink. Photo by Joan Marcus, Courtesy Boneau/Bryan-Brown
It's no surprise that six Tony nominations, including one for best play, went to the newly opened Ink, a scintillating look at the early days of Rupert Murdoch's media empire. The London hit stars two Olivier Award winners, Bertie Carvel (as Murdoch) and Jonny Lee Miller (as editor Larry Lamb), and is directed by two-time Olivier winner Rupert Goold.
But Tony voters expecting James Graham's play to resemble other prestigiousBritish imports will be surprised to find a choreographer, Lynne Page, listed in their Playbills, and several rowdy, exuberant romps on the Samuel J. Friedman Theatre stage.
Karen Azenberg, a past president of the Stage Directors and Choreographers Society, stumbled on something peculiar before the union's 2015 move to new offices: a 52-year-old sealed envelope with a handwritten note attached. It was from Agnes de Mille, the groundbreaking choreographer of Oklahoma! and Rodeo. De Mille, a founding member of SDC, had sealed the envelope with gold wax before mailing it to the union and asking, in a separate note, that it not be opened. The reason? "It is the outline for a play, and I have no means of copyrighting…The material is eminently stealable."
Corbin Bleu as Billy Crocker in Arena Stage's production of Anything Goes. Photo by Maria Baranova, Courtesy Arena Stage
Corbin Bleu's theater gigs are the skimpiest part of his resumé, which includes not just High School Musical, but everything from horror films to "Dancing with the Stars." His first two Broadway shows, In the Heights and Godspell, didn't particularly showcase his dancing, but in 2016, he tapped and fox-trotted his way to a Chita Rivera Award in Holiday Inn, the New Irving Berlin Musical. Last year, he did Singin' in the Rain in St. Louis and the 1934 Cole Porter musical Anything Goes in Washington, DC. This month, he returns to Broadway in another classic Porter show, playing Bill Calhoun in Kiss Me, Kate at Studio 54. But when we caught up with him, there was another Bill on his mind—he had just opened as Billy Crocker in the Arena Stage production of Anything Goes.
Broadway Dance Lab's Choreography Intensive. Photo by Whitney Browne
"Go to your choreographers" is the command, and ten 20-somethings sort themselves into two groups at either side of a studio at the Baryshnikov Arts Center in midtown Manhattan. On one side they become three students gossiping in a schoolroom as another enters alone; on the other, it's a guy sauntering into a club where three women are drinking at a table.
Emma Russo, 25, is in charge there, setting up a romance; across the space, Alexia Acebo, 22, is summoning a popularity contest. Both are working to the same jazzy instrumental version of "Pennies From Heaven."
Bouncing back and forth between the two story lines is Broadway choreographer (and Tony nominee) Josh Prince, asking questions, making suggestions, offering encouragement—half mentor, half mother hen.