The Fox Theatre, Atlanta
February 5, 2013

By Deborah Searle.

After a not so successful season in London in 2010, Flashdance the musical has been reworked and now has a second chance to wow audiences in a US tour before hitting Broadway later in the year.

A stage version of the 80s cult classic movie, Flashdance tells the story of “Alex”, a steel worker by day and club dancer by night who dreams of being a trained, professional dancer. With a story all about dance, it’s no wonder there are many dance scenes, which was great for this dance lover.

The slogan for the musical is “One girl, one dream, one chance”, but the musical is really about a group of characters and their dreams and aspirations, and it took a huge team to create and successfully get this musical back to the stage. A colorful 80s explosion, Flashdance effectively took us back to the era of leg warmers, MTV music videos, and musical hits like “Maniac” with fitting choreography, sets and costumes.

With everything from ballet, jazz and hip-hop, to even break dance and pole, Flashdance features a wonderfully talented ensemble of versatile dancers.  The strength of the dance component was the large ensemble numbers where the dancers were all very neat and committed to every step, oozing 80s pizazz. Sometimes the 80s feel seemed a little forced, but the dancers gave a lot of energy and life to the steps. Many of the dancers probably don’t even remember the 80s! The ballet scenes were also a strong point of the production.

Emily Padgett as ‘Alex’ with the dancers of ‘Flashdance The Musical’. Photo by Kyle Froman

Some of the solo jazz dance numbers by the lead cast left me a little disappointed, however, with bent legs in an aerial cartwheel, a lack of turnout and extension when needed, and hops in pirouette.  That said, the lead performers, led by Emily Padgett as ‘Alex’, were all very talented actors and singers. Emily Padgett has a stunning voice and was a joy to listen to. She was very believable as the young, sassy ‘Alex’.

A few scenes were dissatisfying. The iconic, sexy scene where Alex sits on a chair and pulls a chain to shower herself with water, felt rushed and like it was just squashed into the program right before intermission. I was disappointed that this very memorable scene didn’t have more build up or resonance. Sadly, the pivotal final audition scene where Alex dances a jazz number for a panel of judges was poorly staged. The judges were on the side of the stage and Alex danced facing them, instead of facing us in the audience. This made it harder for us to feel engaged by her performance and left the dance number feeling a little flat.

The music is infectious and a feast of 80s classics like “Maniac”, “Manhunt”, “I Like Rock and Roll” and the movie title song “Flashdance- What a Feeling”, and the show is really quite fun and entertaining. Unfortunately though, I wasn’t blown away. I heard mixed reviews from the audience, but I was happy to hear people saying “I want to go dancing now”, as they left the theater. If Flashdance can inspire people to dance, then it’s definitely achieved something that we dancers can’t complain about.

Photo: Emily Padgett as Alex in Flashdance The Musical. Photo by Kyle Froman.

By Emily Yewell Volin.

Broadway in Atlanta has announced an energetic 2012/13 season.  The roster of five prominent productions includes a little something for everybody with all shows performed at the Fabulous Fox Theatre.

The season just opened with War Horse, winner of 5 Tony Awards, including Best Play. As World War One begins, Joey, young Albert’s beloved horse, is sold to the cavalry and shipped from England to France. He’s soon caught up in enemy fire, and fate takes him on an extraordinary journey, serving on both sides before finding himself alone in no man’s land. But Albert cannot forget Joey and, still not old enough to enlist, he embarks on a treacherous mission to find him and bring him home.  The production is based on a novel by Michael Morpurgo and the inspiring work features life-size puppets strong enough for men to ride.

Disney’s ‘Beauty and the Beast’ perform ‘Be Our Guest’. Photo by Joan Marcus.

Next Atlanta audiences can enjoy Disney’s Beauty and the Beast from November 27^th to December 2^nd. Disney’s classic musical love story is filled with unforgettable characters, lavish sets and costumes, and dazzling production numbers including “Be Our Guest” and the beloved title song.  Marketed as appropriate for children of all ages, Beauty and the Beast promises holiday-season fun for the whole family.

In the new year comes Flashdance, which tells the inspiring and unforgettable story of Alex Owens, a working-class girl from Pittsburgh with a dream of becoming a professional dancer. She works by day as a steel mill welder, and a bar dancer at night, while aspiring to be accepted at a prestigious ballet academy. When Alex catches the eye of her boss Nick Hurley, their romance shows her the meaning of love and drives her ambition to pursue her dream.  This 1980s movie hit is sure to take many down memory lane.  Flashdance runs February 5-10.

Million Dollar Quartet

Rock-n-Roll lovers take note of Million Dollar Quartet. This show, running March 12-17 2013, chronicles a single evening jam session shared by  Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis. On December 4, 1956, these four young musicians were gathered together by Sam Phillips, the “Father of Rock ’n’ Roll” at Sun Records in Memphis for what would be one of the greatest jam sessions of all time. Million Dollar Quartet brings that legendary night to life with an irresistible tale of broken promises, secrets, betrayal and celebrations featuring timeless hits.

Sister Act closes the Broadway in Atlanta series from April 23-28.  Sister Act is Broadway’s fun musical comedy based on the smash-hit film. When disco diva Deloris Van Cartier witnesses a crime, the cops hide her in the last place anyone would think to look – a convent! Under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own.

For tickets and more information visit http://atlanta.broadway.com.

All information is taken from the Broadway in Atlanta website.

Top photo: A scene from Flashdance

Helen Hayes Theatre, New York, NYC
July 10 2012

By Belinda Adams.

Rock of Ages has enjoyed much hype recently thanks to the movie release, so to see the musical version on Broadway was a real experience.

The small theatre was decked out like an 80s’ rock party and made me feel like I was part of the show from the moment I walked down the aisle to my seat.  I could feel the audience’s excitement building even before the first chord was strummed and once the lights went up and the music started I felt like I was part of the LA music scene.  There were even drinks being served during the show to get the audience into the 80s’ party theme.

Each of the characters played their personalities well on stage and were believable as either the protesting hippie or the wannabe rock star.  Although the lead characters were fantastic, it was Genson Blimline as ‘Lonny’ who really captured my attention.  With his witty narration and quirkiness he was a real crowd pleaser.   Also a favorite for the eager audience was Cody Scott Lancaster who played ‘Franz’, the son of German industrial entrepreneur Hertz.  His happy, gay personality and innocent delivery of comical one liners had the audience in stitches of laughter.  Overall, the lead actors were well rehearsed and 100% into their characters.  Their voices were flawless whether they were hitting the highest note or forming a harmony.

There were only a couple of downsides to the performance.  The ensemble, which consisted mainly of four girls, had some trouble staying together in their choreography and patterning and seemed a little flat in their overall performance.  Also, the venue that they chose (Helen Hayes Theatre) was rather small for the production.  There were a number of times when they could have done with a bigger stage to really show off the staging.  All that being said, it was a great production with what space they had.

Rock of Ages is a very entertaining musical that will be pleasing crowds on Broadway for many years to come.  It is an adult musical that brings you back to all the 80s’ hits that we remember and even grew up with. I definitely left the theater singing “Don’t stop believing, hold on to that feeling!”

Photos by Paul Kolnik

By Tara Sheena.

You’ve seen his smooth moves gracing promo events for the high-school-hopefuls on Oxygen’s The Glee Project; you’ve caught his tightknit choreography on Extreme Makeover: Home Edition featuring beloved Broadway beauty, Kristen Chenoweth; you may have even witnessed the exciting chatter erupting after his class at Broadway Dance Center (BDC) on a Tuesday afternoon, but do you know the man behind this diverse spread of choreographic terrain? It is none other than Jim Cooney, Broadway vet and master teacher, who currently spreads his knowledge and know-how four days a week at Broadway Dance Center. Cooney not only teaches four high-energy classes weekly, but he advises the elite Professional Semester training program as well as the Summer Intern program.

Given all his roles within the BDC community, it is evident that Cooney is passionate about teaching students of all levels. In one week, he can encounter up to 200 different students at the busy NYC studios and says it is “seeing them succeed is the most rewarding and gratifying experience.” In particular, it is the students in the Professional Semester and Internship programs that fuel this joy. Cooney works intimately with them to acquire skills to sustain a career in dance. Those skills range from technical training to developing audition prowess, but the most important, according to Cooney, is developing performance skills.

“It’s the way the dancer interprets and executes the movement that matters most,” Cooney explains. “I often tell my dancers that your face is indeed part of your body and that their dancing doesn’t happen from the chin down.” One of his methods is to encourage his students to approach dancing like an actor would approach interpreting a script. This means asking questions like, ‘Who am I?’, ‘What do I want?’ and ‘How do I get what I want?’ Cooney feels it’s essential to know why you are doing each step before you do it; he encourages his dancers to think about their personal connection to the steps he gives them— “only then will it be organic and true,” he notes.

Being a former dancer himself (he’s been a dance captain for eight major productions!), Cooney understands what a vulnerable experience this approach can be for many aspiring professionals. For this reason, he strives to ensure the classroom environment is as safe and supportive as possible so the “students feel secure to let go.” Cooney also believes this environment enhances what it means to be a professional dancer.  “The more we work together, the more we can create,” he states, “Being cutthroat or negative does not in any way help you get a job. More importantly, it doesn’t feel good to have that animosity in your heart.”

Cooney’s classes are more than physical training or an amalgamation of repertoire. His views and approaches reflect important life lessons that any individual, dancer or non-dancer, can benefit from. One of the largest pillars of his approach is the lesson of gratitude. He knows pursuing a career in professional dance is a tough business that can be made more difficult with competitiveness in class, rejection, and the relentless toll that performance can take on the body and mind. To thwart this oftentimes-unpredictable lifestyle, he tells his students to think of ten things they are grateful for every night. “It puts you in the practice of knowing how many wonderful things you have in your life, and also let’s you fall asleep in peace,” he says.

Cooney conducts a rehearsal at Broadway Dance Center

Remembering gratitude, maintaining professionalism, and giving an authentic performance each and every time, sounds like the ideal performer to me. And, it works. Cooney’s students have gone on to win leading roles in Broadway and national tours, and professionals consistently pop into his weekly classes.

“We’re blessed to be able to do what we love for a living everyday,” Cooney states. And, for the students and professionals who have taken class with Cooney, I am sure they all agree.

Catch Jim Cooney’s classes weekly at Broadway Dance Center.

Photos: All photos courtesy of Jim Cooney.

How much do you know about jazz dance icon Bob Fosse?

By Rain Francis.

1. Which of the following characters would you NOT find in Chicago?

a) Mary Sunshine
b) Roxy Hart
c) Lilli Vanessi
d) Billy Flynn

2. In the 1972 film Cabaret, Sally Bowles is a performer at what club?

a) The Kitten Klub
b) The Kit Kat Klub
c) The Top Kat Klub
d) Top Hats ‘n’ Kats

3. The 1953 film Kiss Me Kate was inspired by which Shakespeare play?

a) Romeo and Juliet
b) The Taming of the Shrew
c) Much Ado About Nothing
d) Othello

4. The video for Beyonce’s Single Ladies was inspired by what Bob Fosse number?

a) All That Jazz
b) I Gotcha
c) Mexican Breakfast
d) Bye Bye Blackbird

5. Rich Man’s Frug is a number from which Fosse film and stage show?

a) Sweet Charity
b) Pippin
c) The Pajama Game
d) Damn Yankees

6. In the semi-autobiographical All That Jazz, who plays the elder “Joe Gideon”, the character based on Bob Fosse?

a) William Shatner
b) Michael York
c) David Hasselhoff
d) Roy Scheider

7. As a Choreographer and Director, Fosse won nine Tony Awards and one Academy Award. What film was the Oscar for?

a) Cabaret
b) The Little Prince
c) Lenny
d) Kiss Me Kate

8. In the 1969 film Sweet Charity, who played Charity Hope Valentine?

a) Gwen Verdon
b) Shirley MacLaine
c) Liza Minnelli
d) Ann Reinking

9. Which of the following is NOT a number in The Pajama Game?

a) Steam Heat
b) Hernando’s Hideaway
c) Shoeless Joe from Hannibal, Mo
d) Small Talk

10. What moniker is given to Amos Hart in Chicago?

a) Fred Casely
b) Mister Cellophane
c) Pal Joey
d) Mr. Applegate

Answers:
1 – c; 2 – b; 3 – b; 4 – c; 5 – a; 6 – d; 7 – a 8 – b; 9 – c; 10 – b

Top photo: The Female Ensemble in Australia’s Chicago. Photo by Jeff Busby, 2009.

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

Lunt-Fontanne Theatre, New York City
April 2012 Previews

By Deborah Searle.

You may ask, how can the Patrick Swayze and Demi Moore 80s classic film Ghost be adapted into a singing and dancing stage show? I, too, was a skeptic, hoping that the show wasn’t going to be a corny rendition of the much loved story, as I took my seat in the gorgeous Lunt-Fontanne Theatre on 46^th Street, New York.

From skeptic to fan I was hooked from the very first seconds.  Ghost the Musical is a must see for any theater lover, or for anyone really. It is gripping, romantic, heart-wrenching, hilarious and thoroughly entertaining. At times I was holding back tears, clenching the arms of my seat, laughing out loud or tapping my toes. The story takes you on an emotional journey that feels real and relatable.

Caissie Levy and Richard Fleeshman as Molly and Sam

The cast is outstanding. Caissie Levy and Richard Fleeshman as lovers Molly and Sam were believable with undeniable chemistry. Both with impressive stage credits to date, the couple were the original main characters of the London West End production of Ghost.  As a preview showing, I expected to see actors still warming to their roles, but these two were obviously very comfortable with their characters and each other, and they shone.  They have impressive vocal and acting abilities.

However, if you go by the audience reaction, Da’Vine Joy Randolph playing Oda Mae Brown, was the star.  She was hilarious! Every time she came on stage the audience would erupt in laughter in no time. She is a true entertainer and seemed made for the role of the quirky, outspoken and brash Oda Mae. In her Broadway debut, with basically only a college theater degree to her name, Randolph is one to watch. It was exciting to see a new young star take her place on the stage.  She must be thrilled to be receiving standing ovations in her first Broadway role.

The musical is full of special effects using projections on large screens. The subway train scene is powerful and exciting. The scenes where Sam, as a ghost, moves through doors or objects are clever. There are many effects used to portray the ghosts and to show spirits taken to heaven or hell. These are chilling! With so many special effects the show could easily feel overdone, but it isn’t. Every effect is well incorporated, has a purpose and adds to the story.

Da’Vine Joy Randolph as Oda Mae Brown with the dancers

The musical is full of dancing and singing, as you’d expect from a musical, but not so much from the story of Ghost. Every song and dance number fits well into the story and is well written or choreographed to fit with the theme and build the story. My favorite song and dance scene was performed by Randolph as Oda Mae Brown when she thinks that Sam has just given her 10 million dollars. She sings and dances up a storm on top of suitcases with the dancers showing their prowess around her in sparkling suit jackets and sunglasses. It’s highly entertaining and was performed with energy and cheek.

I hope that Ghost the Musical has a long Broadway run, and even tours the country with Broadway Across America. It is an honest and captivating musical.

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

By Deborah Searle

After launching a successful Broadway career at the young age of sixteen in the first revival of On The Town, multi-award winning Director/Choreographer/Writer/Teacher and Mentor Chet Walker has garnered acclaim onstage across the globe, in television, film, music video and all commercial media. His Broadway credits include Lorelei, The Ambassadors, and four Bob Fosse musicals: The Pajama Game, Pippin, Dancin’ and Sweet Charity.

Perhaps best known as Creator and Co-Choreographer of the Tony and multi-international-award-winning FOSSE, Chet has directed and choreographed original new musicals, as well as having mounted extraordinary recreations of classic musical productions in close collaboration with shows’ original creators. His original works range from Cirque du Soleil, to dance works created for Compania Internacional De Teatro Musical, the international Jazz/Musical Theater Dance Company which he co-artistic directs in Buenos Aires, and Jacob’s Pillow where he serves as Director of the Jazz Program.

What makes you proud to be Chet Walker?
That I still am alive with new projects and energy to create and inspire others to live life to the fullest.

What are your passions?
My passions are travel, meeting and teaching students in jazz, American jazz – Jack Cole jazz, and musical theater techniques for dance, acting and singing. It is my desire to help make jazz and musical theater recognized as art forms. I do that in every country I travel to, with my work at Jacob’s Pillow and with the classes that I teach at Steps, NYC. Check out their website (stepsnyc.com) for information on the Jack Cole Jazz Classes and also (jacobspillow.org) for my work there.

What is your career highlight?
I hope it hasn’t come yet. I really mean that. On my last day on this earth I guess I can answer that one.

You have directed and choreographed so many famous musicals. Do you have a favorite?
I know this sounds crazy, but it is the work that I am working on at that moment. I love what I do. I can’t imagine doing anything else

What are your current projects?
My current project is THE JACK COLE PROJECT, that I’m teaching at Steps with my friends. We had a residency at Jacob’s Pillow this year regarding the work and technique of Mr. Cole. We receive an NEA Grant to do that. I’m also working on a new show for Las Vegas with the working title Jazz on Jazz. 

I am working with Queens Theater and my company WALKERDANCE on some projects relating to the greats in the jazz music world. I am going to London to work on a new show. I directed and choreographed Cabaret in Belgrade, Serbia and that is still playing currently. I direct the Jazz/Musical Theatre Dance Program at Jacob’s Pillow each summer and for the past five years I’ve directed The Jazz Happening where I bring people from Broadway to come and perform with the students.

What makes a great musical theater performer? What do you look for in an artist?
What makes a great musical theater performer is a person who is a triple threat and who knows and studies his/her craft. What I look for is personality, intelligence and someone who has a hunger for work and the process. 

What is the future of musical theater?
I think the future of the Musical Theater is bright. New people, new ideas and new exploration of the human condition, and the joy that the theater has always given people, will continue.

How can we as dancers help Musical Theater thrive and keep audiences strong?
I think dancers need to hone their craft. Know the history of the art forms and read, read, read about the people who have come before. Know our history because knowledge is power. 

By Laura Di Orio

Being on Broadway takes more than just solid dance technique. Performers are expected to be well-versed in their dancing, singing and acting abilities. Booking a Broadway show is a great way to break into the scene and offers a good paycheck, a steady gig, tons of performance experience and room for networking. But how does one get so lucky?

Dance Informa spoke with two legendary Broadway veterans, Diane Laurenson and Elizabeth Parkinson, who have both graced the stage in major shows. Laurenson has appeared in six Broadway productions (including Sweet Charity, Gypsy, and The Little Prince), and Parkinson was featured in Fosse and nominated for Best Actress in a Musical for her role as Brenda in Movin’ Out.  Here they both pass on their showbiz wisdom to students and future Broadway go-getters and talk about what it takes to be on Broadway.

For you, what was the appeal of Broadway? 

Diane Laurenson, Master Theatre Dance Teacher, on faculty at Broadway Dance Center and Steps on Broadway
The variety, the diversity of opportunities and the sheer entertainment and magic of the American musical. You’re like a little kid in a big candy store with an unlimited allowance! And there are folks from age three to 83, give or take some years, on that stage. [That’s] a bit different from the ballet and modern retirement norm.

Diane Laurenson, photo M. Hamburg

What are the best Broadway shows for dance lovers to see?

Elizabeth Parkinson, director and owner of Connecticut’s Fineline Theatre Arts and director of the Vineyard Arts Project Musical Theatre Lab
Although it is closed now, I think West Side Story was probably the best thing to see in the past year for dance on Broadway. Jerome Robbins was a genius choreographer and director. Otherwise, I don’t think dance has the same importance that it used to in musicals. Everything goes through phases and I am just waiting for the next great director-choreographer to come into the scene. I think Andy Blankenbeuler’s work in In the Heights was really good.

Diane Laurenson
I think all shows with movement are inspiring to the dancer – from In The Heights to Mary Poppins or Lion King!

What are your suggestions for dancers who want to make in on Broadway?

Diane Laurenson
If you want to enter the Broadway arena, it is your responsibility to do your homework, past and present. Watch old movies with Fred Astaire and Eleanor Powell, Oklahoma! and West Side Story. There are hundreds! Go to as many Broadway musicals as you can. Go to TKTS or take advantage of the student rush discounts. Dive into the history of the American musical, and as you do, dive into the present as well.

What classes are good for dancers to take to prepare themselves for Broadway?

Elizabeth Parkinson in Fosse, photo M. Swope

Elizabeth Parkinson
Most really good Broadway dancers I know still take ballet as a base for training and supplement it with yoga and Pilates. If there is a teacher in the city who is starting to work as a choreographer on Broadway, then it is always a good idea to take their class. They get to know you and you get to know them.

Diane Laurenson
There is no such thing as “just a dancer” on Broadway anymore.  The ensemble are fierce triple-threat performers these days, and competition is high. You must immerse yourself in all styles, starting with ballet for a strong base, then continuing on in jazz, theater, tap, modern, hip-hop, ethnic and ballroom. They all round out your dance experience. 

How should a dancer tackle a Broadway audition?  

Elizabeth Parkinson
Dancers should present themselves professionally. Wear the appropriate attire and find out what a particular choreographer would like to see. If you’re constantly working on your craft auditions should be fun. However, there is nothing worse than the feeling of not being ready. Know your type! Don’t go to an audition that says they are looking for showgirl-types if you’re 5’2”.

A lot of shows require dancers to also sing. How should dancers prepare for this? Should they still audition if they have no singing experience?

Diane Laurenson
Singing and singing well is a must! You must study, polish your audition techniques, have a finished book of a selection of songs and be prepared with everything from a Broadway up-tempo song to country, a ballad and more.  You must practice auditioning, just as you practice voice, dance and acting.  It’s a study just like the others.

Elizabeth Parkinson
Do not go to an audition for singers if you don’t sing. The casting agent will be upset that you have wasted their time. However, if they say “dancers who carry a tune”, then that might be appropriate for a less-experienced singer. Take voice lessons and learn. There are also group lessons if you don’t have the money for private ones. You must be able to sing with confidence and character! The better singer will always be hired over the better dancer unless it is for a specialty dance role. 

If they do make it onto Broadway, how should dancers prepare for an intense schedule of rehearsals and several shows a week?

Elizabeth Parkinson
Like any other athlete, you should be in good shape before you get a show. You must be motivated to train in class and at the gym to stay in top form. If you eat well and don’t party too much a Broadway show is a fantastic experience!

Diane Laurenson
It is your responsibility, your job, to come to work eight shows a week and perform to the fullest. As in any other exceptional performance situation, you are among an elite few who are expected to give it all every night. Eat well, get plenty of rest, continue studying and growing and make every move important. And last but not least, a step is a step is a step is a boring step. Dance the emotion, dance the idea, dance the story and character, dance the music! People who practice this perform on a higher level – a Broadway-caliber level. One mustn’t want to perform, one must need to perform.

Top photo: Elizabeth Parkinson teaching at the Vineyard Arts Project. Photo by Ashley Melone

Emmy winning choreographer Bonnie Story is the genius behind the much loved dance scenes from High School Musical 1,2 and 3. Bonnie served as co-choreographer for the opening and closing ceremonies of the 2002 Winter Olympics, has choreographed for several television shows, commercials and films and is Associate Artistic Director of Odyssey Dance Theatre.

Dance Informa spoke with Bonnie to discover her story.

How did you start dancing and why?
I started dancing when I was about five years old.  I would go with my older sister Ruth Ann and watch and then my mom who played the piano for the dance school (Shirley Dias Dance School), decided to put me in classes. At home, I would put together recitals with costumes, music, programs and chair seating. I would go around the neighborhood and invite everyone.  I would also write plays and put them on – total scripts and everything.  I even assigned a part to my dog ‘Jamie’. Even though he didn’t come in all the time on the right cues, he was a hit. My mom had a closet full of costumes that would be used several different ways, depending on the need.  I would constantly choreograph and direct.  In dance class, I was such a perfectionist that I would cry if I couldn’t get it perfectly right the first time. I have always been inspired with music, even when I was young.

How did you get involved with the HSM Films?
I got started with HSM films because the director Kenny Ortega and I had worked together before. The first time I officially worked with Kenny was during the Opening and Closing 2002 Winter Olympics. I was an associate choreographer that worked with Kenny.  We have always worked together well. He is brilliant and always willing to teach and direct his choreographers in a way that you come out of every project a new artist.  I have learnt so much from him. I love him so much. When they called on the first movie I couldn’t wait to work with him again. Then we just kept on working together.

What was it like to work on the films with so many dancers?
I love the cast of HSM. They were incredible to work with them. They worked hard and we had a lot of fun along the way. We all became very close. After the first movie we were all family and by the third, there really are no words. I have so much respect for all of them, and their willingness to trust and to keep pushing themselves each movie. If you watch the choreography from the first movie to the last, you can see how much harder we would push them.  It was incredible to be part of that process. I also loved working with so many dancers. We had principal dancers to hundreds of extras that danced in each movie. Everyone worked so hard and very fast. Sometimes we would have to teach 400 extras choreography and film it at the end of the day. It was intense, but everyone was so invested in the project that it worked. Of course it starts from the top, and Kenny made everyone realize the important role they were playing in the movie. The end result was a product of everyone completely putting their all into it. It was an incredible ride for all involved.

What was it like being nominated for and winning an Emmy?
Receiving an Emmy nomination and then actually going home with one was very surreal.  It was amazing! I feel honored to have received one.  Every time I look at it, it reminds me of the commitment that was given from everyone.  There is never a project where you do it on your own. The concepts, music, direction, art direction, the whole crew (I could go on and on) – without their contribution and artistry, the Emmy wouldn’t be there.  I am grateful for being able to work on a project that made a huge impact on a lot of kids and adults.

What choreographers or teachers inspire you?
People that have inspired me are many.  My background in dance is varied.  I am thankful to firstly, my parents, who put up with all my dance classes, all my plays and recitals and who sent me to New York.

I had incredible ballet teachers: Carolyn Barnett, Ben Lokey, Teri Port, Sonia Arova, Thor Sutowski, Ballet West, SAB – it is hard to name one.  Then I went to LA and one of the first classes I walked into was Jaqui and Bill Landrum’s class. They helped me ease from the ballet world to other styles. Billy Goodsen was very instrumental in taking the ballerina out of me, but still using the technique that came from all my ballet years.  Ben Lokey was a huge influence when I first went to LA.  He understood also how to take me to a jazz style from ballet.  Doug Caldwell was so inspiring to take class from and Joe Bennett was amazing. And Vincent Paterson, who I met in Bill and Jaqui’s class, took me under his wing, and literally jump started my career.

Companies that I watch inspire me, including Lines Ballet, Hubbard Street, Alvin Ailey, the list keeps going because I have so much respect for those that have molded who I have become.

Kenny Ortega, who is brilliant, is an inspiration and I have learnt so much from him.  He will say to me on a set, “Bonnie, do you know why I am doing this shot this way?” He’s always teaching and pushing me as an artist, choreographer and director.

I have great love for all of them.  I owe a lot to them.  Hopefully I am passing on all that I learn with every job I do.

Bonnie Story is represented by The Movement / A Dance Management Company and MSA.
www.MovementMGMT.com www.MSAAgency.com

By Deborah Searle.

Musical theater performer David Rossetti is on his way to Broadway fame. Dancing across the country in national tours of Hairspray and Fame, David is no stranger to the stage, but you may not know of him – yet.
Introducing David Rossetti…..

What’s your success story?
I’m fortunate to have been a working actor and choreographer for more than 10 years and I am grateful for all my opportunities.  I have had the honor of performing in two national tours, as well as at several prestigious regional theaters; including Atlanta’s Tony-winning Alliance Theatre.  While I haven’t made it to Broadway yet, I like to say that I’m “en route.” I’ve had callbacks and close calls for a few Broadway shows, but the perfect fit hasn’t come along yet. Broadway remains my ultimate goal, and who knows, 2011 just might be the year.

How important is it to be able to sing and act, as well as dance?
It’s absolutely essential. Gone are the days of separate singing and dancing choruses in musicals. Even if you consider yourself primarily a dancer, I think it can only add to your skill-set to have a working knowledge of the other areas. It not only makes you more marketable/hirable, but it also makes you well rounded.

What’s been your favorite dance experience? Why?
Dancing Hairspray’s finale ‘You Can’t Stop the Beat’ every night on tour was incredible. Not only were all of us dancing (and sweating) up a storm together, but the audience members would go crazy too. They would be dancing in their seats and you could feel their energy bouncing back to us.  It was electric! That was one of the happiest years of my life!

You just finished choreographing a production of Singing in The Rain. Where will we see you or your work next?
Currently I’m hard at work on The Wiz at Aquinas High School in the Bronx. It is a real honor to get to work with young performers and they are so dedicated and fearless!  This is my third year working with Aquinas and I’m looking forward to a fantastic opening night. I’ve also got some other projects in the works, including choreographing a production of Oliver! at the renowned McCarter Theatre in New Jersey. 

What are your goals for the future?
Besides making my Broadway debut? Well, I’d love to direct and choreograph more. I’ve really come to enjoy being part of the creative team. I love casting and shepherding a show from the first conference calls to opening night.  And then, way down the line, I’d love to be the Artistic Director of a theater. In New York?  Maybe. I’m open to life’s possibilities about where I do it, but that’s a big long term goal of mine.

What’s your best piece of advice for musical theater performers?
Don’t let your success define you. Painfully so, it’s true what they say about hearing “no” more than “yes”, but don’t take it personally. There are so many factors you don’t know about before you even walk into the audition room (trust me). It’s pointless to worry too much. Also, find some other hobbies that aren’t related to the business. It will keep you sane. Everyone needs a little distraction in their lives, right?

FUN FACTS
Tour must have 
An iPod! Tour buses are usually full of many different personalities in a very confined space. An iPod and some ear-buds instantly transport you to your own place that you can control the volume on.

Studio snack
Crazins, a protein bar or almonds – and I’m obsessed with coconut water.

Nerve neutralizer
I meditate or just focus on my breathing. It usually gets my mind off any butterflies I have, though I’ve grown to enjoy the feeling these days. It’s part of the excitement of performing.

Costume crush
I would LOVE to wear one of those body stockings you see in modern dance where just the hands and feet are poking out. I just think it would be so much fun to explore dance in something like that.

Keep track of David’s achievements on his website at www.davidrossetti.com