Tag Archive | "Jerome Robbins"

All That Jazz (What’s Jazz these days?)


We can all remember jazz ballet, jazz hands, lycra, sequins, lace-up jazz shoes and Flashdance, but what is jazz dance now and how has it evolved?

Jazz dance is no longer solely the domain of fan kicks and shimmies. The term “jazz” now incorporates a broad range of dance styles. Prior to the 1950s, jazz dance was a style that originated from African American dance and in the 1950s “modern jazz dance” emerged, with roots in Caribbean traditional dance. Every individual style of jazz dance to this day has roots traceable to one of these two distinct origins.

Beginning in the 1930s and continuing through the 1960s, jazz became a form of dance that required the dancer to be highly skilled, and during this time, both modern and ballet choreographers including George Balanchine, Jack Cole, Jerome Robbins and Bob Fosse experimented with jazz dance.

Jazz dance develops in parallel to popular music, with jazz being the physical embodiment of popular music of a given time.  It therefore continues to evolve and remain popular across the world and across age groups.

Dance Informa sought to uncover what is being taught as “jazz” in Australia’s leading dance programs and spoke with the directors of some of our country’s premier institutions.

Dance training Sydney Australia

Students at Urban Dance Centre, Sydney

Juliette (Jet) Verne
Urban Dance Centre, Sydney

What styles of jazz does your school teach?
Urban Dance Centre teaches traditional jazz with a taste of modern flavor. We believe and are very passionate about the classic technique, power and clean lines of traditional jazz and we include and are continuing to grow with today’s modern movement, music and styles.

What makes a great jazz dancer?
A great jazz dancer owns their dancing with power, technique, confidence and style. Someone who is unpredictable with outstanding technique and a whole bunch of fire!

Where do you draw your inspiration from when teaching and performing jazz?
I draw my inspiration from successful dancers/choreographers such as Desmond Richardson, Gil Duldulao and our very own Kelly Abbey. Plus my family, UDC faculty and students, and music inspire me every day!

How do you think jazz has influenced other styles of dance?
I think jazz has influenced many styles of dance and music. A lot of pop artists throughout the years have fused jazz and hip-hop styles together and have come up with some amazing dance routines in their music videos and live concerts. Lady Gaga, Madonna, Beyonce and Janet Jackson, to name a few, have all had a jazz influence within their repertoire and have produced some very exciting and inspiring work.

What do you think jazz is now and how has it changed?
I feel jazz dance styles have branched out to many exciting new and different styles like lyrical jazz and JFH (Jazz/Funk/Hip Hop) and is constantly growing and changing. Like any art form, jazz will continue to grow, morph and change which is why we as a dance community are so passionate about it and love it!

Jazz dance in musical theatre

Dancers perform iconic Fosse jazz choreography in the Australian production of ‘Chicago’. Photo by Jeff Busby.

Todd Patrick
Patrick Studios, Melbourne

What styles of jazz does your school teach?
At Patrick Studios Australia we offer a number of different styles. In jazz particularly we teach jazz technique classes tailored to beginner, intermediate or advanced students. We also specialize in jazz classes that include a technical routine as well as Broadway jazz classes taught by Australia’s leading musical theatre choreographer – Andrew Hallsworth.

What makes a great jazz dancer?
A good jazz dancer has wonderful technique and lines with a good base in classical ballet. Men, in particular need a strong grounding and a masculine edge to their dancing.

All great jazz dancers dance with power and can interpret music well. These days there are some extraordinary dancers that master their technique. This is incredible to watch but I strongly believe that there is no point in doing 10 turns into an incredible jump combination finishing with a back handspring if you do it like a gymnast. I love all of that, I think it’s exciting, but I know that with a sense of performance and feel for your music you will make a connection with your audience that will far outweigh technical feats.

Where do you draw your inspiration from when teaching and performing jazz?
I am incredibly inspired by the dancers around me, especially my students, each and every day!

How do you think jazz has influenced other styles of dance?
Jazz is in every style of dance, it’s a natural way of moving.  You don’t have to have the perfect facility to be a great jazz dancer; therefore, jazz is a style that runs through many genres of choreography. More than anything, its influence is seen in every new generation coming through as they watch A Chorus Line or Footloose, or any show or movie that inspires children to take their first steps towards a dance studio.

What do you think jazz is now and how has it changed?
Jazz is IMPORTANT, that’s what I know.  The three major musical theatre auditions this year were all about technique and style; Lion King, Grease and Wicked are all shows that you must have a strong technical foundation for. If you want to be a successful dancer you must have jazz training. Sometimes I think lyrical becomes what younger dancers think is “in”. In fact, it is derived from a fusion of jazz and contemporary.

Real jazz is athletic and sexy, it’s full of energy and grit, it’s sweaty and exhausting, from the sensuality of Fosse to the strength of A Chorus Line. Personally, jazz for me will always be a Barbara Warren Smith class. She has taught most of Victoria’s jazz dancers how to roll a shoulder and tip a hip unlike anyone I know. She is still the sexiest woman strutting her stuff in the studio as she was when I first had the privilege of taking her class.

Cameron Mitchell
Brent Street, Sydney

What styles of jazz does your school teach?
Commercial jazz, Broadway jazz, JFH (jazz/funk hip-hop), lyrical jazz – basically every form of jazz.

What makes a great jazz dancer?
Versatility is the most important thing for any dancer. You must be able to adapt to any choreographer’s style.

Where do you draw your inspiration from when teaching and performing jazz?
The music! That’s where it all begins. I let the music tell my body what to do and feel.

How do you think jazz has influenced other styles of dance?
I think in this day and age all the styles influence each other. Hip-hop has a jazz flavor, yet jazz is heavily hip-hop influenced.

What do you think jazz is now and how has it changed?
If it’s really good it is because it has evolved. All jazz can have the feeling of times past but it really has to be modern – even Broadway, if it has a new spin. It’s great.

Top photo: Talia Fowler and the Australian cast of FAME. Photo by David Wyatt.

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Robbins Remastered


West Side Story with the Sydney Symphony Orchestra

Sydney Opera House
27 January 2012
As part of Sydney Festival

By Elizabeth Ashley.

The iconic film West Side Story, with its musical interpretation of Shakespeare’s Romeo and Juliet, is seen as one of the greatest film musicals, winning an unsurpassed 10 Academy awards in 1961.  Central to the film’s success is the interplay of Leonard Bernstein’s music and the brilliance of Jerome Robbins’ choreography.

In an attempt to highlight these two elements, West Side Story was screened to the live music of the Sydney Symphony Orchestra this Sydney Festival. It was a collaboration which drew attention to the film’s musical vibrancy and conveyed an immediacy that can seem lacking in the film.

Part of the collaborative process required the original film to undergo technological surgery, digitally deleting the musical score whilst retaining the singing and speaking voices. Ensuring success would demand perfect synchronisation of the present music and past film. The Sydney Symphony Orchestra, led by Hollywood’s David Newman, achieved this feat whilst interpreting the music.  Newman recognised the risks involved, “You feel like you are on a tightrope going step by step from A to B to C to D.”

Emerging in the Sydney Opera House Concert hall was the vividness of the score and an appreciation of the musicians’ performances as one could hear and see them toiling onstage to give life to the musical.  A disconcerting aspect was the feeling that the orchestra could reach across time and space to cue the actors to their present performance.

But while we can say that Bernstein’s score benefited from this deconstruction and reconstruction how did Robbins’ choreography fare?

Remastering the score drew our attention to Jerome Robbins’ continuing relevance to a new generation of dancers and audience. Robbins’ capacity to convey an emerging urban energy through combining the discipline of ballet with the social and racial tensions of a modern city underlines the film’s iconic dance scenes.  There is no mistaking Robbins’ influence in such movies as The Warriors and the music video of Michael Jackson’s Beat it which strongly quote Robbins’ vision of urban America.

West Side Story also highlights Robbins’ ability to bring a classical ballet sensibility to the production, freeing it from the usual confines of stage and studio and allowing it to explode and expand onto the streets of New York – a city that he loved.  While other choreographers may be content to convey the city on a stage, Robbins’ determination to place dance squarely in the cityscape resulted in a transformation of the balletic body as it interacts and attempts to circumvent the concrete and steel environment of NYC.

This vision of the street may seem quaint and somewhat at odds with our contemporary sensibility, but with West Side Story we have the opportunity to experience one of the earlier versions of street dance.  Dances such as Cool are capable of capturing all the tension of territorial urban posturing and yet remain unencumbered by the earthbound, technologically distracted manner of much contemporary dance.  The raw energy of the urban street conveyed in Robbins’ choreography is in many ways purer in its roots to classical dance and also much more innocent in its vision.

The film’s costumes and general aesthetic is saturated with the American pop culture that reflected the country’s post-war prosperity of the 1950’s. It suggests a time when the dance world was more integrated and reflective of the wider cultural atmosphere. West Side Story was an opportunity for Robbins to comment on the very real inter-racial gang wars that were ravaging NYC at this time.

From a 21st century perspective that has been saturated with American urban culture in its music, dance and fashion, the movie’s innocence can seem out of touch and jarring to younger generations. Particularly the almost all white “Caribbean” cast with their fake tans.  One also gets the impression that Robbins’ interpretation of Puerto Rican street dance is closer to a Spanish interpretation of the ballet Carmen rather than Afro-Latin folkloric forms that rule the streets.

Nevertheless this retrospective exercise, with its combination of resonating energy and synchronisation, allowed the audience to suspend disbelief and be transported back in time to experience Bernstein and Robbins afresh. The synergy of past and present masters enthralled and inspired.

Photo source: www.moviesoddity.com/20-best-new-york-movies/

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West Side Story to tour from East to West


From July 1st, Lyric Theatre, Star City Sydney 

“The greatest Broadway musical of all time” – The Guardian (UK)

Director and Choreographer Joey McKneely has announced the dynamic young cast who will star in the Australian national tour of the show that is credited with changing the face of musical theatre. Joey McKneely was personally chosen by Jerome Robbins to reproduce his original choreography and has now toured the show to wild acclaim and sell-out seasons in London, Tokyo, Paris and Beijing.

“I believe this Australian cast will be the best cast I have assembled in 10 years of doing West Side Story. Their talent has impressed me. Really, Broadway calibre!” said Joey McKneely.

This vibrant new stage production plays from July 1st at Sydney’s Lyric Theatre for a strictly limited six week season. It will then tour to Melbourne, Perth, Brisbane and Adelaide.

West Side StoryThe lead male role of Jets leader turned good-guy Tony, is to be played by Josh Piterman whose voice has become well known across the world thanks to his time with the smash hit singing group The Ten Tenors. A graduate of the Ballarat College of the Arts, Josh has toured with the Melbourne Opera Company, lived and performed in Japan, and has just finished currently sharing the stage with Geoffrey Rush in The Drowsy Chaperone at Melbourne Theatre Company.

The innocent romantic dreamer Maria will be brought to life by Sydney Conservatorium Scholarship winner Julie Goodwin, who has recently completed 200 performances in the lead role of Christine in Australian tour of Phantom of the Opera. Julie is a graduate of both the Sydney Conservatorium High School, and the prestigious Talent Development Project. Having toured in Asia and across Australia Julie is tremendously excited to have won the coveted role of Maria.

Packed with unforgettable songs, including ‘Maria’, ‘Tonight’, ‘Somewhere’, ‘America’ and ‘I Feel Pretty’, West Side Story remains a theatrical landmark. These songs are as popular now as when first written having been recorded by countless famous artists.

West Side StoryBased on Shakespeare’s Romeo and Juliet, in West Side Story two young people meet, fall in love and pledge their eternal loyalty to one another. Their different backgrounds ensure they are denied a happy future because of the intolerance and hatred of two antagonistic cultures. Fate leads the star-crossed lovers into a tragedy of heartbreaking proportions.

WIN tickets for Opening Week in Sydney!
Click here

SYDNEY
Dates: From Thursday July 1st, for 6 weeks only
Venue: Lyric Theatre, Star City Contact:
Ticketmaster 1300 795 267 www.ticketmaster.com.au
MELBOURNE
Dates: From Thursday August 19th, for 6 weeks only
Venue: Regent Theatre, Melbourne
Contact: Ticketek 1300 795 012 www.ticketek.com.au
PERTH
Dates: TBA
Venue: Burswood Theatre
BRISBANE
Dates: TBA
Venue: Lyric Theatre, QPAC
ADELAIDE
Dates: TBA
Venue: Adelaide Festival Centre

www.westsidestorythemusical.com.au  

 

NSW Permit Number: LTPM/09/00769 CLASS: Type B

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