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.

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!

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.

By Linda Badger.

Emma Clark only graduated from her full-time studies in 2009, but she already has numerous theatre and television credits to her name. The young star is gracing the Australian stage again in The Addams Family musical, currently playing at Sydney’s Capitol Theatre. Dance Informa’s Linda Badger got the chance to chat with Emma between rehearsals.

What is your background as a performer?

I originally trained in classical ballet at the Jane Moore Academy of Ballet for 10 years. Then in my adolescence I took classes at Dance World Studios. To further hone my skills I completed two years of full-time dance at Patrick Studios Australia, graduating in 2009.

I always enjoyed singing in choir in high school, but I didn’t take my singing seriously until I was 18, when I began lessons with Susan Anne-Walker. I’ve seen a few teachers since then and have recently started vocal coaching with Peter Bodnar.

Tell us a bit about your role as an ‘Ancestor’ in The Addams Family musical.

I play the ‘Saloon Girl’ Ancestor.  My character is straight out of the Wild West in the 1850s. It’s a sassy role, and the beautiful costuming brings my ghostly quality to life.

Emma Clark (centre with arm raised) as ‘Ancestor’ in The Addams Family. Photo by Jeff Busby

What was the audition process like?

Like most auditions, The Addams Family audition process was extremely nerve racking. We have been blessed with an incredibly warm and nurturing creative team, so from the start of the audition process the energy of the panel was friendly, which helped make it not too daunting. There were quite a few dance rounds and lots of singing and scales to the highest of high notes. Most of the ensemble members cover the leads in the show, so there was also scene work to prepare and perform.

Were you an Addams Family fan growing up?

I wasn’t really allowed to watch TV growing up, so I have become a fan in my adult life. Since getting into the show I have caught up on the original black and white TV version that was filmed in the 1960s. My mum says she loved watching it as a kid. It is clever and darkly witty – a style that is a parallel to the musical.

What has been the best, and the most challenging part of the experience so far?

One of the most challenging things has been building up the stamina to sing the opening number, which includes some high-intensity dancing! There is also a fair amount of partner work in the show. It has also been extremely enjoyable, although challenging, to learn the infamous tango.

Any highlights of the show we should particularly look out for?

Without spoiling any of the magic of theatre, all I can say is that this show will surprise you. It is extremely touching and the family themes that run throughout the story line will make you realise that the Addams family, even though creepy and kooky, many not be too different from your family.

You have had quite a few roles in various shows, what is unique about this role?

I’ve never played a dead person before!

The cast of The Addams Family. Emma Clark can be seen behind ‘Uncle Fester’. Photo by Jeff Busby.

What is the most exciting place you have travelled to so far in your career?

The most exciting place I have travelled to would be the Philippines. I went there on my first contract, which was with Cats. I was cast as ‘Cassandra’. I will never forget the excitement and nerves that I experienced in my first job. Everything was new; the wigs, the crazy makeup and the demands of an eight-show week. I relished in the challenged and I will never forget it.

If you could perform any show, what would be your dream role?

Chicago. I will play ‘Velma’ one day…fingers crossed.

Any advice for young performers who are hoping to chase the dream of performing in musical theatre?
A quote from Don Miguel Ruiz’ book ‘The Four Agreements’¹ – this is the fourth agreement and something I live by: “Always do your best: Your best is going to change from moment to moment; it will be different when you are healthy as opposed to sick. Under any circumstance simply do your best, and you will avoid self-judgement, self-abuse and regret.”

We want to wish Emma and the cast of The Addams Family all the best with the show!

The Addams Family is currently playing at the Capitol Theatre Sydney. Tickets are available through Ticketmaster. Visit www.ticketmaster.com.au or call 1300 723 038 for bookings. For more information, visit www.addamsfamilythemusical.com.au.

Source:
Ruiz, Miguel: The Four Agreements: A Practical Guide to Personal Freedom
(A Toltec Wisdom Book), Amber-allen Publishing Inc.
Publication Date: November 7, 1997 | ISBN-10: 1878424319 | ISBN-13: 978-1878424310

Photo (top): Emma Clark. Photo courtesy of AB Publicity 

Capitol Theatre, Sydney
22 March, 2013

By Linda Badger.

Going to The Addams Family, I was excited to be re-living a part of my childhood; The Addams Family was a TV show I loved when growing up. I have a special affection for the character ‘Wednesday’, who this musical was based around. I was around the same age as her when I was first introduced to the show in the form of re-runs of the black and white variety. And then there were the movies, of which I was also a fan. One would hope, knowing this show is somewhat an iconic part of our Australian childhood, that we might be able to catch a glimpse of that in this musical version of the show. Not so. The musical version was an entirely poor and weak version of its TV counterpart.

The cast was a talented group of singers, dancers and actors. They delivered their lines extremely well, and had us in stitches at many points throughout the performance with some highlight comedic moments. The show did not fail in terms of talent and ability on the part of the cast; they did what they could with what they were given. If one was not an experienced performer or too knowledgeable of the original show, they may really enjoy it based purely on the comedic factor, and the talent of the cast.

The really disappointing factors of this production were mostly in the writing and the structure of the show itself. It launched all too quickly in to the guts of the story itself, almost expecting that everyone who came to watch the show would already have a full background and knowledge of The Addams Family characters and their quirky nuances – this would not be the case for most people under the age of 25.

Most songs had quite interesting lyrics, but at times tried to fit way too many lyrics and ideas into the one number creating an Olympic-sized feat for the performers to deliver. Usually when one attends a musical, there are some songs that stick with you and you want to download the soundtrack or buy the CD right away. Not so with this show. A lot of the songs and their melodies also felt ‘borrowed’ from other musicals.

Having a special affection for Wednesday, I found her character to be the most unlike her original character in the ‘musical style’ version of herself; she was entirely the preppy American teenager with a slightly try-hard ‘emo’ side. I do not believe this musical was about making fun of the original, so it surely fell short in the character development phase. Wednesday was originally described by creator Charles Addams in this way: “Child of woe is wan and delicate…sensitive and on the quiet side, she loves the picnics and outings to the underground caverns…a solemn child, prim in dress and, on the whole, pretty lost…secretive and imaginative, poetic, seems underprivileged and given to occasional tantrums…” This was nothing like the version we see in the musical. Other characters were more developed towards authenticity of original self, but there was not a sense of the cast being able to really embrace who their characters were.

The choreography was undeveloped and very predictable, and did not blend well into the story. One does not expect to see eisteddfod style choreography (prepare, double pirouette, jumping jack) in a character’s introduction, in a professional show. Some moments were interesting, but overall, it was quite poor and not as interesting as I would have expected.

All in all this was probably the most disappointing and underdeveloped musical I have seen to date. It was extremely funny, but disappointing in so many other ways. It is always worth going to see a show that is based on something as iconic as The Addams Family, but if you’re a fan of the original show it may not live up to expectations.

Photo (top): The Australian cast of The Addams Family. Photo by Jeff Busby.

The Tap Pack, an infectious, swinging, tap-dancing comedy, is set to take the Parramatta Riverside Theatre in Sydney by storm this March with its unique mix of cheek, charm and sophistication.

Inspired by the highly entertaining performances of the original 1960s’ “Rat Pack”, which formed around the great Humphrey Bogart and featured the undeniably cool Frank Sinatra, Dean Martin and Sammy Davis Jnr., The Tap Pack offers old classics with a fresh new twist in a tightly packed one hour show.

Written and choreographed by tap talent Thomas J. Egan, Jordan Pollard and Jesse Rasmussen, the show features five of Australia’s own triple threats, a swingin’ six piece live band and irresistible songs both old and new.

“People tend to forget how amazing live performance is,” says choreographer and performer Thomas J. Egan. “The Tap Pack picks up where the Rat Pack left off, putting high-energy tap dancing alongside witty banter, slick humour, sharp suits and, above all, a great night out. We feel it can reach the young and young-at-heart because it has a timeless charm, yet we bring a fresh, invigorating energy.”

A show inspired by the legends of yesteryear, the idea for the show came about through a casual chat over drinks. “It all started with a conversation at our bar. We started talking and all of us felt passionate towards creating something that inspires us so much. It just so happens that all of us love jazz music, can tap dance and wanted to bring back this style,” shares Jesse Rasmussen.

“From a young age, all of us have had a unique connection to jazz music and we were lucky enough to learn about Frank, Dean and Sammy growing up,” adds Egan. “If anybody has seen or heard the Rat Pack, they were just entertainers. Just like the Rat Pack, we Tap Pack guys have camaraderie from our close friendships through the industry. We wish to harness this into something reminiscent of the legends of the 1960s. We are just totally inspired to pay homage to the classics but overall bring laughter and joy to audiences.”

And now this dream has become a reality. “It’s not easy taking an idea, a dream, from nothing and getting it moving, but we’ve all had great belief in this project and all put such positive energy towards The Tap Pack that it doesn’t really feel like work,” explains Rasmussen. “Working together has been extremely rewarding, we have such respect for each other and we are motivated to making it succeed.”

From classic Rat Pack numbers “Lady is a Tramp” and “Straighten Up and Fly Right”, to Beyonce and Cee Lo Green “swingified”, The Tap Pack promises great music and impressive dancing from some of Australia’s most talented tappers. The five young men behind the show, alongside Director Nigel Turner-Carroll, share international dance and choreographic credits in over 20 live musical theatre productions, motion picture blockbusters, television series and more.

“Having all done a variety of shows, some coming from a similar era as the Rat Pack, we have come to thrive in this style. Working professionally in musical theatre, commercial dance and choreographing for artists gives you great experience to draw from and we will be bringing our unique flavour to it,” Rasmussen elaborates.

To get your tickets visit www.riversideparramatta.com.au. The show runs for three nights only from Thursday, March 21st to Saturday, March 23rd. For more information visit www.form.org.au.

By Rebecca Martin.

Michael Ralph is well known around Melbourne, not only for his dancing but his fantastic classes at The Space, Michelle Slater School of Dance, Jason Coleman’s Ministry of Dance and Centrestage Performing Arts School.

Recently, he has started creating works that have garnered critical and audience praise alike. His new work, Now & Then – Ralph’s first full-length production – will be presented at Gasworks Theatre in Melbourne on March 21-23. Featuring who’s who of the Melbourne dance scene, the work presents Ralph’s own brand of Broadway jazz and contemporary dance.

Dance Informa recently caught up with this budding choreographer to ask him a few questions.

You trained at Dance World Studios and teach at various places around Melbourne. Share with us more of your background as a student and performer. 

I actually grew up in New Zealand in a city called Tauranga on the beautiful east coast of the North Island. I started dancing at age four at the dance school around the road from my house. I moved to Australia in 2007 to study full-time at Dance World Studios and to pursue a career here.

Michael Ralph

After a year of full-time (dance) I was very lucky to be cast in the musical CATS as my first professional gig. I learnt so much about performing and about myself from being on tour. Since then I’ve performed in FAME the Musical, CATS again playing another role and in Moonshadow, the Cat Stevens’ musical.

My two goals when I moved to Australia were to perform professionally in musical theatre and to be a musical theatre choreographer. So I guess everything has been working towards these goals. I am extremely passionate about the knowledge I have gained over the years from so many incredible people who have taught, mentored and worked with me. Because of them, teaching others comes so naturally.

Now & Then isn’t your first piece of choreography. You have created prize winning pieces presented at Short + Sweet.

Last year I created a piece called Project Elvis, which was part of Short + Sweet Dance festival 2012. It won “Best Choreography”, which was a huge step forward for me and my work. The year before that I won the “People’s Choice” award for my piece Mood Swing at Short + Sweet. I have also created work for Immersed Industry dance nights, Underground Dance night, Magnormos Theatre Company and many cabaret and corporate shows. A lot of my work is for showcase and competition pieces for the many dance schools and music theatre institutions that I teach at.

Do you prefer dancing or choreography?

Dancing will always be my first love. There’s nothing quite like that feeling out there onstage – it makes me feel bigger/stronger than I believe I am in real life. But I have always been fascinated with choreography and studying different peoples’ work and processes. It feels so much more like what I was meant to do in life. I love choreographing and it’s very creatively satisfying.

Who is your favourite local choreographer and why?

I would have to say Kelley Abbey. She has such distinct vision and style with everything she does – musical theatre, television, and film. Working with her in FAME was a hugely inspiring experience and a great honour.

Who is your favourite all time choreographer and why?

That’s WAY too hard to answer! I pride myself on knowing all there is to know about the great choreographers of the past and present. I like them all for different reasons. If I was to narrow it down to a few I would say Bob Fosse, Michael Bennett, Jack Cole, Rob Ashford and Gene Kelly. I love choreographers of all styles though and try to let this influence my work a lot.

Michael Ralph’s ‘What is this thing called love?’

Tell us about your new work, Now & Then.

Now & Then is my first full-length dance production directed and choreographed by myself. I’ve been planning and thinking about doing a show for about two years now and finally the right moment came to go ahead and do it. Essentially the show is a chance to showcase my work to the musical theatre and dance industry in the hope of creating more interest and opportunities for myself as a choreographer.

The first piece, What is this thing called love?, is a young man’s journey to find the essence of true love. Set to a catalogue of Cole Porter’s finest hits, it promises to seduce, thrill and set your toes tapping. The second piece, Ladies of Hollywood, is a tribute to the great Jack Cole – a lesser known choreographer of film and theatre whose work I adore. The final piece, Project Elvis, explores the lust, loneliness and love of youth in the 1950’s. Featuring a rockabilly meets 2013 soundtrack of remixed Elvis Presley tracks that will blow the roof off the joint!

Tell us about the team involved in the show.

The dancers in this show are so incredible and I am extremely lucky to be working with each and every one of them. We’re about halfway through the rehearsal process now and I’ve been having such a wonderful time. The workload involved with putting on your own show is a tad daunting, but I try to keep on my game my being organized and surrounding myself with a strong team, (including) Scott Hendry (Co-Director), Amy Mete (Production Assistant), Tanje Ruddick (Production Manager) and Gemma Kelly (Costume Coordinator).

I cannot wait for people to see what we have been working on. I always strive to create work that audiences find connectable, entertaining, and fresh – even in an old school way.

To get your tickets to Now & Then visit www.gasworks.org.au and for more information visit www.facebook.com/NowAndThenDoubleDanceBill.

Photos courtesy of Michael Ralph. Top photo from Project Elvis.

The Basement, Sydney
February 7, 2013

By Kristy Johnson.

Parisian Rendez Vous, by writer and performer Ruby Boukabou and cabaret heartthrob Ben Palumbo, was a delight.

Having returned for a one-off performance on February 7th at Sydney’s premier jazz club, The Basement, audience members were treated to an acrobatic, operatic and tap dancing sensation.

Ruby Boukabou brought her Parisian flair and acting skills to the forefront in the role of Jazmin Baret as she took us on a series of semi-autobiographic, theatrical adventures. The concept was brilliant. It allowed the audience to have an understanding of French culture while simultaneously keeping us amused.

Complimenting her was the multi-talented Ben Palumbo in the role of Monsieur P. It’s quite clear Ben is meant for the stage. He has a certain ease at performing that appears natural and not forced.

Accompanying Boukabou and Palumbo on stage were a talented team of musicians and dancers, with featured solos from international burlesque star Sarina del Fuego and jazz songstress Cathrine Summers. A definite highlight of the night was watching Glenn Wood perform choreography with the Sydney Tap Crew.

Sparkly costumes and French mannerisms tied in with the French theme. A good dose of humour was often a welcome distraction to some of the more serious moments of the performance.

All had an enjoyable night. As the French would say….c’était magnifique!

Photo: Two dancers of Parisian Rendez Vous. Photo by Josh Raymond.

By Kristy Johnson.

The Addams Family will be making its musical debut this year in Sydney on March 23^rd. The freakishly fun production will feature all the signature characters and stay true to the quirky original theme. In celebration of the news, Dance Informa caught up with Chloe Dallimore and Teagan Wouters who will play the roles of ‘Morticia’ and ‘Wednesday Addams’.

Chloe Dallimore

Congratulations Chloe on landing the role of Morticia Addams! Do you enjoy playing roles in family favourites like Annie and The Addams Family ?
I think the beauty of something like Annie or The Addams Family is that people already know (the story), and they have a sense of what they might expect. They come with that to the theatre, which is terrific, but it also adds pressure as a performer to make sure that the characters that people have loved and grown up with are portrayed as genuinely, and with as much integrity and love as possible. We don’t want people walking away going, “oh that’s not what I imagined”. We want them to feel as if they’re being totally transported into that family or story that they have loved so much. So it’s a big responsibility, whereas with something like Chicago or Sweet Charity it’s a little more of a blank canvas and the audience is not so familiar with the specifics of the show.

When reading reviews of your performances, critics make note of your great comic timing. Have you always considered acting to be one of your great strengths?
I began as a dancer, so that’s the thing that seems to come most naturally for me. Singing was next and then the acting was something I discovered in my late teens. I think comedy depends so much on the other performers around you as well. We’ve all seen comedy sketches where all the performers just gel incredibly well. So I’ve been very lucky in my comedic roles to be cast with other actors who also have brilliant acting instinct. I’ve learnt so much from them and the audience teaches you a lot about acting. You’re always trying to fine-tune the audiences understanding of the character. So acting is something I probably work hardest on when I’m preparing for a role, and I try to be as instinctive as possible.

Speaking of other great actors, how was it working alongside Todd McKenney in Annie?
We’ve had a fantastic time together. Probably the greatest thing about working with him is his ability to bound onto that stage with 300% energy every single night, no matter what kind of day he’s had. You feel that energy next to you and you have to meet it. He’s also wonderful at talking constantly about how we can improve something. He’s very open and very generous, so I think it’s been a very successful and wonderful working partnership.

How do you ensure you’re in peak condition during performance season? Do you try and fit in dance classes here and there?
The difficulty I have is that I move around so much that it’s very hard to commit to certain dance classes. Another part of my life is Pilates and Xtend Barre. Xtend Barre is a really safe way of working out with all your Pilates principles. It really targets the muscles but protects all the joints so you can keep your body safe and still challenge it to its maximum. Not only am I teaching it, but I also put myself through my own Pilates and Xtend Barre practice every day. I find that it offers me the opportunity at this stage in my life to strengthen and keep my body strong, toned and flexible, without fatiguing myself before the eight shows a week.

Chloe is currently teaching Xtend Barre classes at Emergy Pilates Lounge in Sydney. Visit www.emergypilates.com.au

Teagan Wouters

Congratulations Teagan on securing the role of ‘Wednesday Addams’! How excited are you to be part of this production?
I’m so excited! I can’t wait for it to start quite frankly! I’m thrilled.

Can you tell us about the audition process?
I initially auditioned in December [2011] for the musical director and the casting agent. That was my first audition and then I got a call back a couple of months later to audition with the American creative. It was a really fast audition! I worked with them for maybe 20 minutes or so. It was a really simple process, which was good. I wouldn’t say it wasn’t hard though. I had to prepare two songs from the show and sing those, and there were about four scenes from the show that I also had to do.

Do you think your study in musical theatre at the Victorian College of the Arts prepared you well for this role?
Absolutely! I think any sort of study that is about the theatre is going to help you with auditions, researching roles, and all that kind of thing. I’m definitely very grateful for my training at the VCA.

When do rehearsals begin?
We haven’t started yet. We don’t start rehearsing until the end of January.

Have you met the rest of the cast yet?
I’ve met a couple of them at the launch. I’ve met Chloe Dallimore, Meredith O’Reilly and a few others. Everyone’s lovely and I think it’s going to be a really fun cast to work with.

Do you feel any pressure working alongside performers who have been in the industry for a long time?
I don’t think I feel pressure. I think it’s definitely a case of being so excited to work with people of their calibre! I’m sure I will learn a whole heap off them. I’m really excited about it.

Would you say musical theatre is your passion? Are musicals what you would like to continue doing?
Yes, I think so. I studied musical theatre so I think it’s my ultimate passion. I wouldn’t mind getting into TV and film though. I really like the vibe of the live audience; seeing their reactions and the feeling you get from performing live. I do think this is where I will begin and probably end up.

The Addams Family opens at the Capitol Theatre Sydney, March 2013. Tickets available through Ticketmaster. Visit www.ticketmaster.com.au or call 1300 723 038 for bookings. www.addamsfamilythemusical.com.au

WIN A DOUBLE PASS!
Dance Informa has 2 Double Passes to giveaway to the preview performance of The Addams Family at the Capitol Theatre, Sydney on Tuesday March 19.

To Enter: Email info@danceinforma.com with your Name, Date of Birth, Email Address, Postal Address and Phone Number and answer this question: “Who will play Morticia Addams in the Australian production of The Addams Family?”
Entries close Feb 20.

Top photo: The Australian cast of The Addams Family musical. Photo by James Morgan.

By Deborah Searle.

NYC based dancer and choreographer Joshua Bergasse has risen to fame for his work on the television hit Smash which follows the development of a new Broadway musical, Bombshell. Recently receiving the 2012 Emmy for Outstanding Choreography, Bergasse has a long list of dance and choreographic achievements and is a sought after theater dance teacher. With season one of Smash just released on Blu-ray and DVD in Australia and season two ready to air in America early next year, Josh spoke with Dance Informa about the success of the show.

Produced by none other than Steven Spielberg, Josh knew that Smash would be a success right from the beginning. “I knew that I was joining something very special when I was brought on board with the names involved including Spielberg, the cast, and the backing of the network”, Josh shared. “I was excited about it. I hoped that it was going to be a big hit.”

Even with such a supportive team, the creation of such a show has been a challenge for Josh. “My biggest challenge on Smash is the schedule because we’re not like any other TV show. It’s different because we are shooting twelve hours a day and the same people that are filming also have to find time to record music, and go to dance rehearsal. It’s hard trying to find the time for dance rehearsal in-between their shooting scenes, and then they have to record the music, go to makeup and hair, and then do all the other things involved in show.”

A scene from season one of ‘Smash’ as seen on Foxtel and Channel 7.

The cast of such a drama is filled with triple threats who can sing, act and dance up a storm, but what about the star Katharine McPhee who was runner-up on the fifth season of American Idol? Known much more for her singing than her dancing, Josh explained that “people didn’t know that she had a dance background, so she surprised a lot of people. Kat studied dance when she was a kid, she grew up studying dance. For her it was kind of like riding a bike, you just hop back on. I think at the beginning of the season she was a little nervous about it, but as we went on she really got comfortable with it again.”

So what was it like to work with McPhee? “It’s really great to work with her,” shared Josh. “She has a great dance vocabulary and she’s kind of game for anything.”

Happy with the huge success of the show and the creative license given to him, Josh said “it’s been a really fun ride!” With much dictated by the writers, Josh does get some freedom choreographically within the boundaries of the script. “What I’m doing is really dictated by what happens in the story and the music, but I’m kind of free to do what I prefer to do choreographically.”

With a theatre background, Josh never expected to be working in television. “If anybody said to me a few years ago that I’d be working on a TV show as the choreographer, I would have laughed. It really is a dream come true.” But Josh hasn’t found the transition from stage to camera too difficult.  “As the choreographer of Smash most of my assignment is about me choreographing a number that could take place on stage. Normally we shoot our numbers on what would be a Broadway stage. Then once we start shooting we find different angles and the camera just adds another dimension.” Some pieces are much more difficult though. “There are other numbers we do that require some special effects or a lot of stops and starts and it’s only after the editing that you really see the whole thing through,” Josh explained. “When you have it in parts with different stops and starts it’s hard to keep track of everything and remember exactly what you have, where you left off, and where you have to begin the next shot.”

A scene from season one of ‘Smash’, as seen on Foxtel and Channel 7.

With much of the show directly transferrable to the stage there have been rumours about Bombshell actually becoming a Broadway production. “There was a lot of talk of that in the beginning and it’s a great idea, but I think right now everybody is just really focused on the TV show because it’s so all-consuming. If you watch the TV show you see how much work there is in creating a Broadway show, so there’s no way that this team would be able to do both at the same time. I think you’d have to bring in a whole new team to do that, or give us a nice long break”, Josh laughed. “I would love to see it and I would love to be a part of it.”

With season two set to start airing on February 5 in America, Smash fans are eager to view the new chapter. “We’re going to do eighteen episodes this season, which is three more than last season”, shared Josh. So what can we expect to see in these eighteen episodes? “In the second season you can expect the trajectory of two shows: Bombshell and another new show. So instead of following one you’re following two shows,” Josh divulged. “And you can expect more great guest stars including Jennifer Hudson and Harvey Fierstein.”  Season two is set to please. “I think we’re trying to stay surprising people”, said Josh. “We’re trying to change things up a little so it’s not just the same thing we did last season and we’re trying to kind of push the bar with our musical numbers.”

Winning an Emmy for his choreography for season one was the icing on the cake for Josh who cites Smash as his “absolute career highlight.” We look forward to seeing Josh’s work in season two of Smash.

Capitol Theatre Sydney
Saturday November 17 2012

By Kristy Johnson.

There was no denying that the show went off with a bang at Capitol Theatre Sydney, on Saturday 17^th November. Chitty Chitty Bang Bang was the perfect family musical that had the entire audience clapping along.

Based on the 1968 film of the same name, the car was definitely the star of the show. Flying through the air, it garnered gasps from both children and adults in the theatre. At first, it seemed there were a few small malfunctions with getting the car into the air, however being the first night of the show, a small mishap could be expected.

An all Australian cast did their best on stage, with standout performances from David Hobson in the role of the eccentric inventor ‘Caractacus Potts’ and Rachael Beck as ‘Truly Scrumptious.’

I wasn’t surprised to see live dogs bound on to the stage. For family musicals, live animals are a definite crowd pleaser and director Rodger Hodgman did a fantastic job in keeping the children entertained.

One of the downsides of the show was the dancing. The choreography seemed to lack a bit of ‘oomph.’ At times it felt like I was watching dance routines at an eisteddfod. However, what seemed to hold the dancers together were the great costumes and set that tied in well with the whole story.

The performance did feel quite lengthy as well. Towards the end of the second half, I was feeling edgy and ready to get up.

However, with all that being said, I did leave the theatre feeling happily entertained. I wasn’t the only one, with the cast receiving a standing ovation. If you’re after a light-hearted fun musical for the family, then Chitty Chitty Bang Bang ticks all the right boxes.

For tickets visit ticketmaster.com.au.

Photo: Chitty flying by  Kurt Sneddon.

Sydney Lyric Theatre
Oct 3 2012

By Kristy Johnson.

Omigod You Guys! Legally Blonde The Musical is straight-up good fun. It’s your ultimate romcom, with just the right amount of humour and wit.

Lucy Durack plays the role of Elle Woods perfectly; her comic timing is spot on. Portraying a spoilt and dizzy Blonde from Malibu, she also manages to capture great moments of vulnerability and plays the mantra of ‘don’t judge a book by its cover’ right down to a tee.

If you haven’t seen the original film featuring Hollywood star Reese Witherspoon, here’s the run down. Elle Woods, studying fashion merchandising at the University of California at Los Angeles gets dumped by her boyfriend Warner, who gets accepted into Harvard Law School and decides he needs a more serious girlfriend. Elle is determined to do whatever it takes to win him back, persuading the head of Harvard to let her in. Starring opposite Lucy Durack, is ladies favourite Rob Mills who uses his stellar vocals and charm to play cad Warner Huntington III.

Helen Dallimore as Paulette and Mike Snell as Kyle in Legally Blonde. Photo by Jeff Busby

An actor who I think does not receive enough credit is David Harris in the role of Emmett Forest. Compelling, with great singing and acting skills, David is definitely one to look out for on the musical theatre scene.

We didn’t really get to see much of Cameron Daddo in his role as Professor Callahan, however he does have a comparatively modest role in the whole production.

Unlucky-in-love hairdresser and salon owner Paulette, played by Helen Dallimore, was a great inclusion in the musical. Her love interest, delivery boy Kyle, was a definite hit with the ladies in the crowd.

In her musical debut, model and entrepreneur Erika Heynatz got right into the role of fitness queen and murder suspect Brooke Wyndham. Singing “Whipped Into Shape” with a chorus of dancers, Heynatz looked phenomenal. Although a small role, her stage presence was definitely felt.

As expected, the show features a lot of pink, camp characters and sugary lines, but what’s most unexpected is how smart and witty the whole production is. U.S.-based choreographer and director Jerry Mitchell did a fine job in ensuring it wasn’t too cheesy and had just the right amount of tongue-in-cheek humour. It’s light, fun, fast and frothy.

Costumes were on the mark as well, but the definite showstopper would have to be Elle’s final number. What looked like a Swarovski studded pink dress garnered gasps and cheers from the crowd.

There were some terrific dance routines throughout the entire production. Elle was often surrounded by a supporting group of cheerleaders who would follow her journey from fashion to law student.

Legally Blonde The Musical is definitely a feel-good show. You can’t help leaving the auditorium with a huge smile plastered on your face. Receiving a standing ovation, it was obvious that the cast enjoyed delivering the performance as much as we enjoyed watching it.

Snaps for such a great show!

Top photo: Rob Mills as Warner and Lucy Durack as Elle in Legally Blonde the Musical. Photo by Jeff Busby.