The nominees for the Tony Awards have been announced, and from the looks of those competing for Best Choreography, it’s going to be a tough competition:
Andy Blankenbuehler, Bring It On: The Musical
Andy is a favorite on the pages of DT. Recently, he shared his musical theater choreography technique for turning gesture into dance. He even taught us a phrase from his Tony-winning smash, In the Heights. Watch the video here.
Peter Darling, Matilda The Musical
Last month, we spoke to the Billy Elliot choreographer in "Face to Face" about how he regularly coaxes Broadway-worthy movement out of young children, as in the new adaptation of Roald Dahl’s classic story. “I suppose I just think of them as very small adults,” he told us. He’s a master!
Jerry Mitchell, Kinky Boots
This new musical is taking the Great White Way by storm, and it doesn’t surprise us one bit! Jerry Mitchell is a nonstop hit machine. He's the force behind Hairspray, Legally Blonde: The Musical, Catch Me If You Can, and he won the Tony for his work on La Cage Aux Folles. Read more about the “busiest choreographer on Broadway” here.
Chet Walker, Pippin
How can you compete with a man who trained under Bob Fosse and Jack Cole? Walker graced the cover of DT in 2005, and we recently asked him to break down a Jack Cole-style jazz combination for us. As this nomination for the revival of Pippin indicates, he’s still got it.
We can’t wait to learn the results when the Tony Awards air June 9, but we’re so glad we don’t have to make the decision!
Photo by Matthew Murphy
As the director of dance at Fred Astaire Dance Studio in Belmont, Massachusetts, Istvan Cserven organizes the biannual student showcases, prepares dancers for competition and trains new instructors. On top of all that, he teaches the upper-level technique classes. A former ballroom champion in Hungary, he is well-acquainted with both rhythm and smooth ballroom-dance styles.
In an event inspired by the words of President John F. Kennedy, The Washington Ballet will perform the world premier of WHO WHEN WHY this Saturday, June 24, at the Smithsonian American Art Museum's Kogod Courtyard.
After having spent a lifetime looking at ourselves in the mirror, constantly appraising, who of us wouldn't want to take a dance class in the dark? Two Australian dance students, Alice Glenn and Heidi Barrett, had the same thought in 2009 when they founded No Lights No Lycra, a global dance community that offers dancers and nondancers alike the chance to get their groove on in a dark space, where there's no light, no Lycra, no technique, no teacher and no steps to learn. It's just a place to lose yourself in the music and find your own dance mojo. The event became so popular that it spread past its Melbourne beginnings, first throughout Australia and now, globally.
Four incredible educators: Joanne Chapman, Claudio Muñoz, Pamela VanGilder and Kathleen Isaac foster their students' love of dance, whether instilling artistry, offering rigorous training or giving special needs students an outlet through movement.
When Jennie Somogyi retired from New York City Ballet, she found herself in high demand as a teacher. Parents called, texted and persisted. "I don't even know how some of them got my contact information," she says with a laugh. But Somogyi, who departed from NYCB in 2015 after a 22-year career, hadn't made any definitive plans for the next stage of her life. "I just like to see how things move me," she says. She discovered, though, that she enjoyed the process of giving private lessons and seeing the rapid progress students could make. Over time, she realized that teaching was something she wanted rather than needed.