Choreographers of Broadway

Purpose Prior 1920s musicals relied on the music or plot to drive the story Added to the commercialisation of the musical adding another factor to get bums on seats. Used in ways like dream ballets or fight inspired choreography Most common forms were ballet, jazz and tap.

Agnes De Mille First time dance helped drive the plot or reveal something new about the character Famous for her work in both the contemporary world aswell as broadway. Early example of the incorporation of ballet in the world of musical theatre The Dream Ballet of Oklahoma: used the extension of gestures with balletic technique to display Laureys psychological state and feelings for Curly. Used traditional folk dance within her choreography that displayed a understanding of context and further set up the story. Brigadoon: traditional Scottish sword dancing Oklahoma: male dancing within dream ballet imitated the bowed leg American wild west cowboy. Rogers and Hammerstein with De Mille used dance and songs to further the musical plot line as a tool not just as a spectacle.

Jerome Robbins Similarly as Agnes De mille came from a classical ballet background. First major ballet work was Fancy Free (1944), with music by Leonard Bernstein. Used ballet in a masculine manner to help create the story of the three sailors Choreography was memorable for its frenetic energy and constant motion. Later became On the Town with Comden and Green as music/lyric writing partners. Began the role of director/choreographer with director George Abbott giving full directorial licence to Robbins within his mini ballets within the show. Robbins continued the role of director/choreographer in Bells are Ringing and co-director The Pajama Game with Fosse and Hal Prince West Side Story (1957) was the mark of full integration of dance into a Broadway musical and arrival of director/choreographer. Believed in the full integration of all elements to help the plot Latin inspired music in songs like America Fight choreography in the opening. Used dance to provide motion in action sequences (The Rumble), release tension (Cool), or serve as a expressive device when inarticulate characters (Dance at the Gym). Robbins believed in method acting and forbade the cast to socialise during rehearsals to show the divide within the gang. West Side Story also marked the start of performers not only having to sing but also dance roles. Other notable Robbins show. Gypsy- incorporating vaudeville and burlesque. Fiddler on the Roof- traditional Jewish culture, the bottle dances.

Bob Fosse Originally from a vaudeville and burlesque background. Renown for creating a star and his obsession with women Gwen Verdon, was his frequent collaborator and third wife. Often-used tongue and check ways to make an audience react through dance. Usually through gestural movement, honing in on the simplicity of what dance can be. Or sensual movement with hip and pelvis isolations to shock the audiences and make them feel uncomfortable at their own enjoyment. Used untraditional jazz dance style that for the day was seen as modern and new. Still can be seen as the Broadway style and is implemented within shows. Signatures moves Use of top hats as props Turned in knees Jazz hands Sideway shuffle Backwards lean. All his choreography is an adaptation of Fosse himself as he was not the traditional ballet dancer so created his own style to mask some of his own shortcomings. Fosse is often about a feeling Big Spender is simple but it is the portrayal of the self-loathing women that burns through. The original choreography came across grotesque not to sell sex but to mask the horrible lives these women lead.

Michael Bennett Famous for being another director/choreographer Most notable for his seemless dance to scene work, plus stylized crossovers using dance. Work on Company helped further Sondheims concept A Chorus Line was the first time that the Broadway dancer was featured and appreciated. Unusual workshop process using direct interviews to create the storyline, verbatim styled theatre. The first musical to adopt the workshop process that had previously been used in straight plays. A dance concept musical as the main theme that drove the show was being on the line. Universal theme of a minor community that all want and dance for the same reason. Each character had a chance through dance or song to reveal their character, why they dance, past the original faade (headshot presented). The show was a success as a dance musical as the audience in the opening number enjoy and accept the individuals personality through dance. So when characters come forward to present their piece there is always a reoccurring dance element that reinforces the theme. Mike tap dances in I Can Do that, ballet montage takes places as the three girls sing At The Ballet.

Future of Dance Musicals The use of old ballet or Michael Bennett style jazz is now scene as a reflection on what was not what is driving us forward. New dance shows arent necessarily been made. The choreography is changing to a more modern commercial jazz styled choreography. Many shows are actually fading back to the old style of dance as a interlude or to suit the mega musical ideas of the spectacle. Only musicals like An American in Paris or Bring in da funk, bring in the noise use a old dance style and bring it to a contemporary. Tap was always a black form of dance. Can be argued as segregation is less it has become less of a popularised art form. Agnes De Mille style dream ballets are hard to keep modern audiences as the themes in modern shows do not necessarily accommodate for new dance styles. Requires to many dancers and this is a cost.Ashli_marin@hotmail.com